EXT. MARS HELLAS PLANITIA - AFTERNOON
A zippered square of metallic fabric blows across a barren landscape. Major HECTOR RAMIREZ (38) runs after it and stops, watching it pick up speed and altitude. Commander SUE MARSHALL (42), is loading equipment beside the crew's launcher that is preparing for launch. Science Officer BRADLEY THOMPSON (32) is opposite Sue packing scientific instruments.
SUE
It's a goner Major. We'll have to get it when we come back.
HECTOR
So I'm now the guy that left the food wrapper on Mars. Do you know what that means for my brand? Kids looking into telescopes fifty years from now are going to see a flickering piece of garbage and wonder if it's the "Ramirez Foil".
BRADLEY
(joking)
Maybe that's your new sponsorship angle Ramirez...
(distracted)
That fungus has really done a number on these harnesses Commander. It's a good thing we're getting out of here. I don't think they'll last another month.
SUE
Yes, the faster we're on our way home, the better.
INT. MARS LAUNCHER - CONTINUOUS
Inside the launcher, Captain JIM STONE (44) is watching the crew outside via multiple screens on the large console.
JIM
Commander, T Minus 30 minutes and counting until launch. Ramirez, make sure the rover is charged before you load it.
SUE
Thanks, Jim. Let's get you home to that son of yours.
JIM
Yes, ma'am. Too long on this dusty rock.
EXT. MARS LAUNCHER - CONTINUOUS
Sue's hoisting steel containers aboard the launcher with a winch. As one rises up, a bubbling white substance disappears into the ground.
SUE
Six months and I never...
Hector is approaching her to help and interrupts.
HECTOR
Aren't we on our way? There's nothing we haven't collected out here and I have plans.
SUE
Cool it with your "plans", Major. Get your multitool. I just saw what looked like a liquid under that last container.
Hector fetches a cross between a hammer and a shovel.
HECTOR
Alright, what have you got?
SUE
It's there Major. Excavate that area where the container was.
HECTOR
Are you sure it's not just condensing Carbon Dioxide, Commander? We've seen this more than once around the gear.
SUE
Just dig Hector. We all have plans. Bradley, bring us a sample kit.
Hector starts digging but there's nothing to see or find in the dry, rocky soil. Bradley approaches and opens a small stainless steel box surveying his work.
SUE
Strange. I could've sworn I saw a liquid.
HECTOR
We saw this all the time when we were setting up the shelters. We assumed it's the liquid condensing and then evaporating really quickly. We're far enough down from the surface to not get fried here but there's still a lot of radiation.
SUE
OK. Get a sample and make sure we're not bringing anything uninvited back with us.
Under her boot the liquid bubbles into the grooves of her sole. Bradley takes a sample. As Hector lifts his multitool, the liquid returns. He checks to see who's watching.
HECTOR
I got this Bradley. Check the harnesses on the gear we're leaving behind.
BRADLEY
Copy that.
HECTOR
..and Jim, Can you triple check on cams that my work over there is done? I'm going to wrap this up.
Hector grabs a second sample and palms it, fumbling with the sample container to quietly slide it into his toolbox, looking over his shoulder and to the camera as he does.
JIM
Looks good Ramirez. We're 15 minutes out. I need all of you out of those suits, decontaminated, sterilized and situated.
SUE
Copy that. Ramirez, let's move. We have everything we need here. It's been a perfect mission.
HECTOR
Yes ma'am. Let's get home.
As Bradley returns all three climb up into the launcher. Hector stores his toolbox outside of the decontamination pod and enters the ship, closing the main hatch. Inside the cavernous lava tubes a presence is watching the launcher and the abandoned shelter as the ship prepares to launch. High above the launch site the "Ramirez Foil" flutters past as the ship launches and rockets towards the stars on it's way home.
CUT TO:
EXT. CHURCH ROOFTOP - NIGHT
SUPERIMPOSE: "5 YEARS LATER"
PULL BACK from Mars, visible in the sky as a bright star, to reveal a halo-ringed moon, silhouetted by the snarling face of a two-headed stone gargoyle. It's second head is missing; seemingly chopped from it's body. A pigeon lands on the stump as we BOOM DOWN past stained glass of medieval swordsmen fighting giant beasts and demons. Broken glass is heard and we land on an open basement window.
CUT TO:
INT. CHURCH BASEMENT - CONTINUOUS
JAMES (44), an unkempt shell of a man, stumbles and falls from a shelf below an open and broken window. Ruggedly handsome he's too old for his unfortunate, club-kid outfit. He has a rope in one hand, loose and dangling amongst his legs. As he stands the rope trips him and he falls heavily again. His head CRACKS against the dusty cement floor.
JAMES
Unnggh. Motherfuh... awe Goddamnit.
He gets up and lets out a defeated sigh. This dimly lit unfinished basement is filled with metal shelves stacked with dusty clutter. Thick wooden support beams above show the structure's centuries old age. James looks at a beam, down at a stool, as he tightens the grip on the rope.
JAMES
(to the room)
I am DONE.
James throws the rope over the beam and ties a noose. He's resolute in his focus to get this morbid task done correctly.
Pulling the stool over, he steps up, looking to this escape above him. Light from the window seems to glow above his bruised and broken face as he slips his head through the loop. He lets out a sigh of relief and closes his eyes. His lips tighten and he kicks the stool away.
CUT TO:
INT. CHURCH NAVE - CONTINUOUS
FATHER TONY (58), a priest with a weathered, strong face of experience that contrasts his austere vestment, walks down the isle swinging incense. Moonlight through stained glass.
FATHER TONY
(Chanting)
Magnus es, domine, et laudabilis valde: magna virtus tua, et sapientiae tuae non est numerus.
A low hum reverberates through the cathedral. Dust on a prayer book vibrates beneath a pew and the priest stops. A thick, wooden support beam groans from an unknown stress. CRACK. It splinters and CRASH.
Pews buckle and the floor drops. Father Tony jumps to steady himself as the ground beneath him shifts. A cloud of dust rises as a shockwave ripples through the old building. The lights flicker out and only the candles at the altar remain to light the space.
Father Tony lights a zippo to survey the damage, his strong hands again seem out of place for this gentile man. The floor has dropped almost two feet, upsetting pews and ripping cracks through the old tiles. He looks to the altar and heads to the back of the church.
CUT TO:
INT. CHURCH BASEMENT - CONTINUOUS
Dust is settling in the dark. From a stairwell the flickering light of Father Tony's zippo lights his way. He looks into the darkness, past silhouettes of collapsed beams, waving away the thick dust in the air. It's difficult to see, to breathe and this is not a place he wants to be.
FATHER TONY
(hesitantly)
H,Hello?
(to himself)
What are you doing?
Moonlight reveals James on the floor, laid out, the noose still around his neck. It's an unhappy ending to what looks like a month long binge of self-destruction.
JAMES
(incoherent)
Ungh... fu... (sigh)...
For a moment James shifts, revealing crusted vomit and pizza sauce obscuring a "Medina Sod" logo on his shirt. He's out again. Incoherent and barely moving, he's flanked by the large wooden support beam from above now splintered in two massive pieces. The metal stool is flattened like tin beneath his upper body. Cracks in the stone floor beneath him spider out in all directions from the epicenter of whatever just happened. The flickering light of the zippo lights up James' incoherent face and reveals this sad situation.
FATHER TONY
(sighs)
Oh... Jim. What have you done now...
Father Tony's face is understanding. His eyes describe a life's experience. The silence of the darkness is replaced by the hum of electricity as the old building comes back to life. A light in the background flickers on and from the hole in the ceiling, lights above stream down revealing James' worn and tired face.
FATHER TONY
Well, this might be the bottom you need, Jim. I get the feeling you still have some unfinished business... God knows. Let's get you out of this place you're in.
He closes his zippo and thumbs the weathered surface. There's a story in the scratches. The burlesque dancer on it's face seems out of place for a priest, hinting at some of Father Tony's own past.
FATHER TONY
Let's get him cleaned up Sally. We have some work to do here.
CUT TO:
INT. BOHO LOFT - NIGHT
Oozing, minimal techno plays in a rundown, lofty Victorian apartment. The interior is decorated with an approximation of style, clouded by an adolescent chemical haze. Victorian arm chairs sit alongside oversized, striped beanbags and odd props. Clouds of smoke hang in the air. The chemicals are fading from the partiers strewn throughout the space in various states.
A handsome vagabond VINCE (28), is draped across an arm chair, topless, asleep as he rules over his court. A hunched stoner "bro" with a glazed kindness, DIEGO (27), is on the couch across from two gold and silver painted men, BOY (23) and CHRIS (24), sunk into beanbags, inspecting a bong apparatus. Other PARTY GOERS are laid out in various configurations, semi-comatose, on couch, chair, beanbags and floor, intoxicated and coming down from a long night. An attractive girl in furry pants and a sequined bikini top, CYNTHIA (23), is asleep in a kiddie pool.
INT. BOHO LOFT STAIRWELL - CONTINUOUS
In the harshly-lit stairwell, Father Tony is carrying a slumped over James who is barely conscious. Tony is looking behind them as if being followed. James is conscious but the world echoes and stretches, in one moment Father Tony is 10 feet tall and in the next his voice is an iridescent echo.
FATHER TONY
Come on Jim. Whatever just happened, I have a feeling we need to get you turned around son.
He opens a fire escape into a hallway with the deep bass audible behind a door down the hallway. Father Tony carries James towards the music and bangs on the steel door.
FATHER TONY (O.C.)
(banging on the door)
Open the door! Enough! Open the door! Diego! Vincent!
The music cuts out and voices are heard within and shuffling. Something falls over and CRASHES.
FATHER TONY
Diego. Open the door. Your friend Jim here needs you.
Diego opens the door, with a hair-dryer in hand, and smoke wafts out. Tony tries to wave it away, exhaling as he pushes his way in.
INT. BOHO LOFT - CONTINUOUS
Vince is absent. The group is stirring. Diego is concerned for his friend and sobered by Father Tony's abruptness. James is stuck in a moment in time as the world of this room closes in. Laughing faces of Vince and the girls. The two strangers and Diego leaning in. Lights spinning, and reflections of his own face being pulled and stretched.
FATHER TONY
You! Get up. Move that out of the way. James needs that couch now. You! Get out of here. You shouldn't be here. What is burning?
As Father Tony tries to motivate this slow-motion afterparty, he focuses on navigating the bean bags and bodies to get James onto the couch. Diego is disoriented but trying, sees his friend needs help. From a doorway at the far end of the space, Vince emerges wearing a feather boa and gold TCB sunglasses. He stumbles forward, still heavily intoxicated.
VINCE
(proclaims)
Guests! Where is the pizza?
For James the music twists and turns and the colors of the room, the people, the walls, the air, drip from the surfaces and swirl together as the heartbeat underneath them reverberates through James' eardrums. Diego and Father Tony have golden, iridescent, luminescent skin in this hallucination. Cynthia's face stretches like taffy twisted between a beanbag's stripes.
FATHER TONY
(exasperated)
This is no life for any of you.
The fire alarm pierces the air and Father Tony realizes much of the smoke is coming from the oven. He races to the kitchen, pulling a blackened discus out and throwing the charred remains in the kiddie pool Cynthia was sitting in.
FATHER TONY
You're all going to kill yourselves and you're going to kill Jim. Party's over. Watch him. Please. He needs you. He's going to need all of us.
A disinterested Vince is dismayed, surveying the now soggy burnt pizza. He sees the earnest in Tony's face and stands a little straighter before being distracted by Cynthia. Diego looks up out of one eye, as he helps arrange his friend James on the couch. Father Tony is moving towards the door to leave.
FATHER TONY
Vincent. You know he'll accept any pill or drink you give him and you still feed the man. Stop.
Vince turns to salute and bows before returning to Cynthia.
VINCE
(disingenuous)
Roger that, Father.
Father Tony pauses to accept Vince's sarcasm is unavoidable.
FATHER TONY
Diego. Whatever you're doing at that job, figure it out. You're a smart boy. I'm sure you have the same bad feeling it's not the solution for all of us but a much bigger challenge we'll be managing.
DIEGO
Yeah... I will bro.
(corrects himself)
Erm. I mean I will Father.
Aware his words will have little impact tonight, Father Tony opens the door. He pauses to take one last look of concern at the trio and leaves.
CUT TO:
INT. BOHO LOFT - MORNING
Morning sunlight illuminates an assortment of scarves and boas draped over the large gilded mirror at the center of the loft. On the fire escape, a dozen PIGEONS observe the scene. A hymnal "JIM" is heard over the noise of a busy city.
James is asleep on the couch, twisted, head under a pillow. The table in front of him is littered with bottles, cans, ashtrays, cereal bowls, and half-empty pizza boxes.
Psychedelic groove rock is playing from a doorway at the opposite end. A woman giggles and the music gets louder. Cynthia dances, bounces from the room, full of energy.
CYNTHIA
(To the bedroom)
Let's go. It's sunny. It's hot. I'm hungry, horny and I need to eat. Oh my God! ...and SUGAR!
VINCE (O.S.)
Soon enough sweetheart. This here cannot be rushed.
...and I am in no hurry to join that twisted orge outside.
James groans under the pillow as Cynthia drops on the couch, bouncing to the music as she grooms herself in the mirror.
CYNTHIA
(yelling)
What's up with this guy?
Is he your dad?
The music lowers and out walks Vince, brushing his teeth. A flamboyant swagger oozes from his gender-fluid styling.
VINCE
Have some respect!
That right there is, the man. James will save us all and break all the hearts nd I owe him my life.
JAMES
(indistinct)
Shu ve fugup.
Cynthia catches a whiff of James and moves away. Vince drops the toothbrush in a bottle and leans over the pillow.
VINCE
Good Morning Sunshine! Give this boy some juice!
(To Cynthia)
Let's go sweetheart... you are delicious. Sweet Dreams James.
Vince sees himself in the large gilded mirror. Cynthia, impatient now, heads for the door and trips over a wooden club of a stick on the floor.
CYNTHIA
What the? Vince! Let's go.
I'm hippoglycomic and I need sugar and then sex. Ugh.
(looks around disgusted)
This place my God. Let's go!
Cynthia storms out, a little undressed, everything loose and untied without a care. Vince raises an eyebrow, looks to the room, bows and follows. He grabs the large stick on his way.
VINCE (O.S.)
(from the hall)
I'll be back for the party. Put me on the list! If you need anything, anything, please leave a message.
Silence. James pulls himself up, hands to head, looking at the site in front of him. A thousand yard stare. He pours a cigarette butt from a beer bottle into a half-eaten bowl of Captain Crunch. The silence is broken by cereal being eaten.
Diego is slouched over the small kitchen table, covered in last night's party, eating a bowl of cereal as he pours it out of the box.
DIEGO
So uh... What happened last night bro? You, you just kept talking about, you were you, but you weren't you, about changing and it's not the time and you can't do it and shit. Those two guys from the lab, you know, we were talking about the new bong and you were talking to the chair. Funny shit, bro.
JAMES
Please don't call me bro. I'm 46 years old and I'm a mess. I don't have time for this. How the hell did this happen? I'm living with two millennial dipshits. I gotta go to work.
DIEGO
Ha! You don't have a job bro... you got all the time in the world. And it's Sunday! And, YOU'RE the millennial. We're new era bro. We got this!
(fist pump)
JAMES
Please don't call me bro.
James looks down at his outstretched arms. They're different. He grabs at the back of his head where he landed the night before. Diego is up now and doing some yoga stretches.
DIEGO
I mean all things considered, you look kinda buff bro. What have you been doing?
JAMES
Please don't...
(sighs)
I've been laying sod at the park.
Diego, surprised, stands up and brushes his hands off.
DIEGO
Whoa! What?? Isn't that place dangerous? There's humpers all over bro. That astronaut lady, Sue Marshall lived there. Ground zero. Where it all started. One day she's a hero and then we have giant rats making babies with house pets. If it wasn't for Ramirez we'd all be rat food like her.
James is rifling through old cigarette packs trying to find a pick me up. He gags after smelling a rotten milk container.
JAMES
(distracted)
I can't do this any more... and Ramirez isn't fixing anything. Let's get outta here. I need a coffee.
James shakes himself off, closes his eyes, and tries again. Diego shakes his head mocking his grumpy friend. James takes a large club of a stick from a stand at the door and exits. Diego follows and shuts the door before quickly opening it to grab a baseball bat for himself.
CUT TO:
INT. DORTECH LABORATORY - DAY
A loud BING BONG as double doors swing open. Major Hector Ramirez is power walking, head high, wearing a shiny black flight suit accessorized with an array of medals. He's followed by Science Officer Bradley Thompson in a lab coat. A few steps behind are BLACK SUIT WOMAN and BLACK SUIT MAN, flanked by security.
BRADLEY
First reports back have us losing 3 first responders.
Black suit woman leans in and whispers.
BRADLEY
(sighs)
Make that 4... and we lost, two AFVs.
HECTOR
Goddammnit Bradley. Did we capture the variant?
BRADLEY
No. It was, pretty quick. They're getting faster. We lost it somewhere about a mile outside the green zone.
Hector stops. The lab is a picture of technical complexity and austere symmetry. Row upon row of long white desks are filled with testing equipment under soulless drop ceiling and fluorescent lighting. Sitting at as many stools are LAB TECHNICIANS - slacker misfits that don't seem to fit this workplace. White coats, and blue-green scrubs, barely contain their dreadlocks and unwashed hair. More well-groomed LAB SUPERVISORS, pace the isles, looming over the technicians.
HECTOR
What about the latest trials? Have we isolated the foreign contaminant? And how are we polling? Is the new foil ready?
A lab technician look up curiously and is quickly schooled by a supervisor to avert his eyes and get back to work.

HECTOR
Did we get the publishers in line? Who's doing anything beside me? Do I have to do everything?
Black suit man steps forward and Bradley flashes him a look.
BLACK SUIT MAN
Sir. I think we're creating more of a problem than we're solving.
Hector pauses, cocks his head, and narrows his gaze. He nods, looking him up and down and leans in to look at his name tag.
HECTOR
What's your name? Miller. Miller. Ok Miller. You're new right? You just got transferred from where?
MILLER
DCWA, sir.
HECTOR
Oh I get it. M,I,T. We're in California Miller. Massachusetts is gone now so get in line. We are the solution, Miller.
Behind Miller one of the security measures his height discretely. Miller looks back, but only sees the guard stepping back. Aware, Hector and Bradley keep their gaze fixed on Miller. Black suit woman bites her lip.
HECTOR
Why don't we give Miller here the tour and show him what we've built?
BRADLEY
Sounds good Major.
HECTOR
(annoyed)
Commander, Bradley.
BRADLEY
Yes, sir, Commander.
The guard has pulled out his tape measure and moves towards Bradley but Hector motions to back off. The group follows Hector as they reach the far end of the lab where two armed guards stand either side a set of windowless double doors emblazoned with large number twos. The doors open automatically for as Hector walks through, not losing a step.
INT. DORTECH SECTION 2 - CONTINUOUS
As the doors close behind the last security another set of double doors within opens to Section 2's glossy black interior and dim lighting. Without stopping Hector continues.
HECTOR
Miller. It's so easy for you to see me, to see this, and point at the chaos out there and proclaim that this... (makes a sweeping gesture)
...is the problem.
Behind reinforced glass walls, TECHNICIANS are busy working under cold, bright work lights, inspecting and dissecting various indistinct masses of flesh and other organic forms. Some rooms are empty with giant remains yet to be cleaned amongst large d-ring mounts in the floor attached to cables and harnesses. One room's glass window is entirely obscured by fungus while in another workers are hosing large entrails into a drain. Miller is bewildered by what he sees.
MILLER
This doesn't look like containment. How is this fixing the problem?
HECTOR
Slow down. There are no problems Miller. There are only situations to manage.
(pauses to step closer)
No one else is stepping up to manage them. We are the solution. This here, out there, the chaos that is nature, is your "problem". Nature is chaos and we are creating control and order, to manage it.
MILLER
(soapboxing)
Sir, if I may speak freely.
Hector nods and looks at Bradley sideways.
MILLER
Ok. We brought this organism back from Mars and it escaped the lab to create this situation, right? Commander Sue understood this and, before the accident, she was working to contain the outbreak. Now, instead of containment, it seems you...
Hector interrupts and looks at one of the security.
HECTOR
Walk with me Miller. You're not seeing the whole picture. You clearly don't understand.
Black suit woman steps back allowing Miller to keep step with Hector. The group approach another double steel door with a large number 1 on it and the doors open.
INT. DORTECH SECTION 1 DECONTAMINATION - CONTINUOUS
The doors open from within to a narrow hallway encased in light panels as the group enters. Large symmetrical ventilation stretches the length of the space. As the doors close footsteps are immediately muffled to a metallic echo. Two GUARDS in white operating a panel direct them to move forward to a moving sidewalk. Hector is dismissive but compliant as he continues.
HECTOR
So Section 3 was where we look busy for the cameras right? And that was Section 2, ok? where we contain, capture, and test. Good?
The walls pulse and blast them with bright white and then ultraviolet light. Black light reveals contaminants on their skin. The ducts above roar and glowing particles float into the air where blue lasers zap them in a dizzying light show. Miller is astounded, unclear if this is functional or for effect. The rest of the group walks forward unremarkably.
HECTOR
(yelling)
Where we are now is different.
This is Section 1.
The fans stop and the guards pass out full face ventilators to the group. Hector is handed his own bespoke, custom-fitted, gold-trimmed model.
HECTOR
(yelling)
Section 1 is where we create, where we capitalize, where we focus all of this effort.
A final flash of white light and the large steel door at the end slides invisibly into the wall. Ahead is a long steel truss walkway that disappears into darkness. The emptiness of this hallway is replaced by a low fizzing or ripping.
HECTOR
(slowly)
This is control, Miller.
Hector turns and walks across the walkway.
INT. DORTECH SECTION 1 WALKWAY - CONTINUOUS
The door has opened at the top of a cavernous dark void. Ahead is a network of steel girders and walkways from which are suspended large red infrared work lights. Tiny points of light illuminate the way forward. Far below, the source of the noise is barely perceptible as a shifting dark mass.
MILLER
I can't see... what's that noise? Oof. That smell! What's down there?
BRADLEY
Flip the infrared on the left. No, the other left. Yeah, that's it.
Miller fumbles with switches and Hector grows impatient.
HECTOR
The right. It's on the right.
BRADLEY
Do you see a readout on the screen? Is there a little arrow? Is it on the left or the right? These helmets are from Sweden so.
MILLER
Yeah I think it's here, it's... Oh my God.
Miller freezes, looking down into the darkness. Hector claps.
HECTOR
Fantastico!
You're with us again!
Do you like what we've built?
The visor has revealed hundreds of giant rats in a frenzy of humping and eating a long pulsing bioluminescent mass running the length of the room. Spaced along it are metal rods intermittently piercing it's flesh. As rats linger too close the mass quickly envelops and consumes them.
MILLER
This is insanity. How does this even?
Miller nervously looks to the group and then the exit.
BRADLEY
It's a perpetual source of our component isotope.
Miller looks down again, over the rail. One of the security starts to move towards him until Hector motions to back off.
MILLER
What? But this is... You're harvesting it? Our orders are to contain and eliminate the foreign contaminant.
HECTOR
It's not a contaminant Miller. It's a living organism and we, are the dominant species. You see this?
Hector displays a small fob. He pushes a glowing ring and the space is flooded with yellow light and a GUTTERAL HUMMMM. The rats screech, racing into tunnels to climb upwards through the rock walls. Debris falls as they climb and the white mass retracts, writhing. Steaming piles of unknown organic matter litter the floor. Hector releases the button, and the space is returned to silent darkness. The mass glows as it expands to it's former size.
HECTOR
There. You see? When you control, you don't need to contain. I control the story Miller. The "variants" outside are merely a setback.
MILLER
This, is...
HECTOR
Nature, Miller. The purest form of violence. I'm so glad I got to show you. We all recognize the importance of free thinking here.
MILLER
No. This, is...
HECTOR
Come. I have one more thing to show you. This one is good. Ground Zero. Where Marshall made her stand. I will not make the same mistakes.
The walkway ends at a large opening to a separate chamber. A blue-green incandescence from a myriad of fungal growths covers every surface. This natural chamber looks to have collapsed from above and the chasm has been sealed with steel girders and concrete. At it's center is an oddly out of place craftsman style house. Amorphous shapes of multiple humans trapped in a death cry. Soft white fingers move and grow towards them as they approach. Miller looks over the edge.
MILLER
What is that?
HECTOR
You weren't listening.
One of the guards pushes Miller over as Hector turns without pausing to walk back where they came from.
HECTOR
It's control.
The group is stunned and pauses before hurrying to catch up.
HECTOR
We need to vet these people better. I don't have time for these distractions. Two days Bradley.
BRADLEY
Yes, Commander.
Bradley is focused on Hector while the rest of the group are keeping up but looking back. Hector pauses and the group realize their misstep, turning their attention to him.
HECTOR
You, you're new. What's your name?
BLACK SUIT WOMAN
Ms. Sloane, sir.
HECTOR
You understand how all this works?
MS. SLOANE
Yes, Commander.
CUT TO:
INT. GROUND ZERO - CONTINUOUS
On the ground, Miller looks around frantically as the growths close in and overtake him. His body is already immobilized where he landed, tendrils attaching to his legs, arms and torso. He shudders for a moment and then his chest and neck start to bulge as he lets out an empty gurgling scream.
MILLER
Agh...
A growth shoots out of Miller's shoulder, bone and sinew embedded in it's intertwined threads. His neck and face are overtaken by a cotton candy peach fuzz, as he stops struggling, frozen in a volume of fungus.
CUT TO:
EXT. WAREHOUSE DISTRICT - NOON
Sullen and brooding, James is walking determinedly down an older, built-up city street on a mission to get his coffee. Diego is looking around nervously. Both of them are nonchalantly carrying their makeshift clubs and when they pass alleys or round corners, they routinely pause, look and proceed. They're unfazed as they step around and over piles of what look like steaming phlegm, hair, and feces dotted everywhere along the sidewalk and road.
DIEGO
It's wild that we go to Mars and then one grain of dirt on the boot of one astronaut travels 34 MILLION miles, gets past all this crazy security to end up being swallowed by a rat under a house in our city to create this new reality...
The two stop to watch two armored vehicles with sirens fly by down the middle of the street.
DIEGO
...and humpers? Really? Who would ever have ever thought that we'd be afraid of being humped by giant Mars rats. It's like a bad B- movie.
A black helicopter flies past a billboard selling "Ramirez Foil". It's the same direction James and Diego are walking but it doesn't concern either of them. It's Sunday after all.
DIEGO
Four years we've been living this now bro. I'm so over looking over my shoulder when I go outside. I can't wait until we get back to normal. Last week I saw this Pomeranian get jumped by those things and sure enough, like a few minutes later, POW, it exploded and there's this 1500 pound furball that starts humping it's owner before those jacked up dudes in black rolled up and torch the thing. So strange bro.
They step around another larger steaming pile and pause. James looks down on the sidewalk to see a small dog collar with the name "BUSTER" on it.
JAMES
Where are you Buster...?
(continues)
Please don't call me bro Diego. This, is it...
(gesturing to the pile)
Nothing will change. We're doomed or we're not. All we have to look forward to is more of this. You of anybody know what we're dealing with, working at that place. Did this really come from "radiation"?
Around the next corner and across the street an is animal screeching as a group of security in black tactical gear with flamethrowers are spraying down an alley. Two armored vehicles have the street blocked off. James and Diego look quickly and duck into their destination, The Brew, ushered in by a lumberjack of a man, BOB, wearing an apron and sporting an impressive, fiery red beard. Despite his stature he's a kind, marshmallow of a man.
INT. COFFEE SHOP - DAY
Bob quickly closes and locks the door behind James and Diego.
BOB
Step to the right please and have your order ready.
Bars on the windows and door are clearly for everyone's safety. Splashes of what look like blood or bile on the glass seem less out of place than this upscale, artisanal coffee shop in the middle of the war zone outside. Swinging experimental jazz on scratchy vinyl, hipsters reading graphic novels, and James and Diego in line for coffee, continuing their conversation. Behind the counter a girl with an indie style and zero pretense, CHARLOTTE, is a pleasant and sincere contrast to the hipster crowd.
CHARLOTTE
Good Afternoon! What can I get you to go with the giant humping rats outside?
JAMES
You're funny.
I'll have a large, black Americano with an extra shot on ice.
She looks at Diego, blinks a few times too quickly, trying not to recognize him, as she regains her composure.
CHARLOTTE
Hi! You're the lab boy right? What can I get you?
DIEGO
Wow! You remembered. I'm a junior lab technician actually. I have a keycard. Maybe I'll give you a tour some day.
CHARLOTTE
(disinterested)
Great. What can I get you?
DIEGO
Uhhh.... Ok no tour. I'll have an extra-large, iced green tea with extra tea.
(turns abruptly)
So yeah, it did come from Mars, or yeah... yeah, but... we don't actually, really know how it works. We can't get it to react in the lab the same way it did with those first rats. It's not radioactive, but Mars is, so, technically it's radioactive Martian fungus... I don't know if we're learning anything. Every couple weeks Ramirez and these people in suits come in and ask questions.
(leans in )
I have a theory that...
SCREECH as a vehicle slides with incredible force out of the smoke-filled alley and the security in tactical gear start running. One of the flamethrowers is spewing a fountain of fire straight up. Within the smoke large shadows of men backing away, and an even bigger shadow of what looks like a... giant dog. The music fades into a tinitis pitched whine and the low hum of an inaudible "JIM" can be heard. The coffee in their cups vibrates.
JAMES
(disoriented)
Wait Diego. Something doesn't feel right...
Time slows down as James adjusts his coffee, gaze fixed on what he's seeing outside. His eyes are glassy as the air itself seems to vibrate, resonating chromatic spirals that overwhelm him. A glow pulsates behind him, brighter, brighter. James hands his coffee down what seems like many feet to Diego who's looking up at his friend's impressive stature. Diego hears gurgling as James' face begins to twist.
JAMES
Ummmggggghh.. I dooon feeeeel soooo gooooo. Awe fug...
James takes two steps and lurches forward, vomiting all over Bob in his freshly pressed denim apron. The pocket on his chest overflows with bile. While Bob was trying to watch what is happening outside, he's now aware of, and disgusted by, his immediate dilemma. Time speeds back up as Bob stops to look down at James wiping his face in his sleeve.
In the background, outside, a singed, 10 foot Chihuahua BUSTER emerges from the smoke and three of the security force scramble as BUSTER stomps on the flamethrower and shakes it like a toy before turning his attention to one of the men. He lunges on the poor man and starts to hump... his new humping thing.
Diego's face is stuck in shock and disgust as he watches the scene outside. A few patrons stand up and watch. Sirens are wailing and car alarms are sounding.
BOB
I just bought this apron bro.
JAMES
Don't call me.. (sighs) Sorry, Bob. Umm. I'll just... Sorry, Bob.
James grabs at a towel and a stack of napkins trying to help clean but it doesn't go well. Vomit spills out of the pocket onto both their shoes. Outside more trucks and security arrive to surround the Chihuahua humping scene. Diego sees an exit and grabs his friend to slip out the door as Bob is distracted trying to find something else to clean up with.
CUT TO:
EXT. PARK WALL - AFTERNOON
It's a beautiful spring afternoon. Diego and James cross an empty boulevard to walk and talk along the wrought iron exterior wall of an overgrown park. Lush greenery is bursting through and over the wall and pushing up through cracks.
DIEGO
What happened back there bro? You moved so fast. It was wild... until you slowed right down and puked all over Bob. But for a second... I haven't seen that before JIM. I was... my ears were ringing. You...
James closes his eyes hearing an echo of JIM again.
JAMES
(pauses... perplexed)
Uhhhh. James. My name is James. My dad was Jim.
(thinking)
I think it was whatever Vince gave me last night. I don't remember anything after that until this morning Diego. Full blackout.
(rubs head)
Full. Vince, again.
Diego looks up and anxiously thinks about what James just shared and how to respond. He's hiding something.
DIEGO
(hesitantly)
I don't think it was necessarily anything Vince gave you...
I uh... You went off last night and it was dark. Father Tony was pretty shaken up when he brought you home. I mean you were out of it...
Diego takes a last, loud sip before throwing his drink on an overflowing trash bin. City services haven't been here in years. The area is eerily devoid of any traffic, pedestrian or otherwise. James has kept walking and Diego runs to catch up. Posters show a giant rat humping a pedestrian "CAUTION" and a big Ramirez points to say "DO YOUR PART".
DIEGO
That guy really took charge when things went south.
JAMES
Who?
DIEGO
Ramirez. Hector Ramirez. The astronaut dude. When those rats attacked his commander lady he knew what to do. He saved us all bro.
James points up at a billboard selling "Ramirez Foil".
JAMES
Don't trust anyone that profits from someone else's tragedy. That "astronaut dude" also went to Mars. How do we know all of this isn't part of some plan?
James and Diego arrive at what once was a beautiful, historic stone entrance to this lush park and is now blocked by police tape, overflowing trash bins and concrete barriers.
DIEGO
I don't know about this...
JAMES
Relax. I need this. I come here all the time.
They step past large warning signs. James casually looks around and wedges his stick under a barrier to force through an opening and enter the park with Diego nervously in tow.
CUT TO:
EXT. OVERGROWN PARK - CONTINUOUS
Nature has been left on it's own and the park is lush and green. Plant life has sprung up through the path to catch rays of sun, and wandering vines and roots have stretched their arms into and under the path. Mushrooms and fungus seem to be thriving, and obscuring past signs of humanity. The air is thick with life. James breathes deep while a fretful Diego sneezes from allergies.
JAMES
At least we have this. It's almost OK without people around.
The path opens up to a lake and except for the tops of a few buildings beyond, all signs of civilization are hidden behind the trees. The two friends walk through the park unaware of eyes watching them from the undergrowth as they walk past a public restroom overtaken by ivy and fungi.
DIEGO
I don't know. This is risky bro. No birds, no animals. This place is creepy. We're so close to where it all happened.
James looks down at the ground and uncovers an old sign on a steel post that points to the restroom ahead. The sign falls off it's rusted bolts and James holds on to the post.
JAMES
Please don't call me bro Diego. This is real and now, not like out there. Everyone keeps talking about going back to normal, growing, healing, cleaning up, rebuilding but this planet, this universe isn't cooperating. This place is moving on without us. ...and the birds are still here Diego... Look.
James points the steel post across the lake. A 15 foot swan and it's bevy of young emerge from under a hanging tree. They're not thirsting or crazed but serene and captivating. Diego ducks down as he realizes what he's seeing and the blood drains from his face. He also in this moment realizes the green tea has kicked in and he needs to urinate.
DIEGO
We can't let those things see us.
JAMES
Relax. They don't have the same frenzy. They're just living their life. That rat business isn't natural.
DIEGO
Whatever you say. Hey I gotta, I gotta use the restroom. I'll be back.
JAMES
(watching the swans)
Sure. I mean. We're surrounded by bushes Diego?
DIEGO
Not my style. I don't trust this place.
JAMES
Ok. Take your time.
James sits and rests his walking against a large quarried rock and plays with the post, swinging it like a bat. Diego steps over some large mushrooms and pulls his sleeves down over his hands to force the restroom door open without touching whatever is growing on it. In the bushes a shape and then another pass camera, watching.
CUT TO:
INT. PUBLIC RESTROOM - CONTINUOUS
Diego gingerly steps into this old cyan and white subway- tiled washroom. He tries the lights and accepts the sunlight coming through the small horizontal windows will suffice. Rushing to the stand-up public urinal trough, Diego is nervous, and oblivious to the shadows passing the row of windows just above his head.
DIEGO
(Relieving himself)
Ahhhh... yes. There it is. Thank you.
A low hum erupts through the air. The corner of one of the mold covered mirrors cracks and in the reflection Diego looks up and continues before being interrupted by the SOUND OF FEET on the roof, then silence, then WILD SCREECHING. Diego cringes and the mirror's screws start to vibrate loose.
We hear a faint hymnal, "JIIMMMMMM" and 70's folk rock begins to echo through the air.
INTERCUT PARK/RESTROOM
Four giant rat HUMPERS leap off the roof, wild-eyed and foaming at the mouth. A massive shirtless, backlit figure is their target and he sidesteps, throwing two into a cement barrier. Flashes of a determined smile, glistening muscle ripping through tightening clothes, attacking claws and teeth, the shining steel of the steel post, fur and blood as a giant rat's head is cleaved from it's body, internal organs and juices erupting through the air.
Diego is frantically trying to finish looking in the mirror above the urinal at the wall opposite. Light glows in the windows above. Blood splashes on the outside of the window. Screeching and death. Zipping up, Diego turns around just as CRASH, the wall gives way to 600lbs of GIANT RAT's head crashing through. Diego crumples to the ground, covering his body, then SILENCE.
CUT TO:
EXT. VOID ON THE EDGE OF THE COSMOS
A sucking sound screams from the smallest of spaces inside itself to explode as an unfathomably wide vista of a God's perspective of the depth of space at the centre of the universe and then...FWOOOOUUTH...and silence booms. The low choral hum of JIM rises and permeates everything. Light stretches and vibrates, refracting the universe itself.
In a fetal position JIM is floating in a bubble of darkness in the middle of this God's space.
SNAPPING OF FINGERS.
ECHOING VOICE (V.O.)
Hey... Hey, wake up, man.
A silhouette obscures this moment of pure awe. A flashlight in the eyes. JIM's face is transfixed and then stretches as he is aware of the awesome scale of the universe. He blinks from the flashes as if a fly has landed on his cheek and continues to stare in childish awe.
SNAPPING LEFT AND RIGHT.
VOICE (V.O.)
Awe, come on man. Snap out of it.
(Pauses and breathes)
Ohhhhhhmmmm.
(Pauses again)
For pete's sake man... Guys, shut it off, shut it off man, he can't handle the whole truth man.
(Huffs and breathes)
Ohhhhhmmmmm. Ok, Ok. Ready? Yeah do it man. I said so.
SNAP!
The silhouette returns and light bleeds into everything. A high pitched whine fills the air and
CRACKLE...
The air is thick with fine matter, pushing and pulling to resolve itself. Existence itself is being tuned on a ham radio by engineers off screen.
POP.
JIM's eyes blink and look up to focus. Hovering over him with kind (possibly stoned) eyes, in what is now a shimmering, golden volume of a void, an aging JEFF BRIDGES as THE DUDE, dressed in white robes.
THE DUDE
I have no pecuniary interest here man. I'm a progressive, man. I grow, man. Do you know that "If" is the middle word in life, man?
JIM
(confused)
What the? I can't feel, it. Am I dead?
THE DUDE
Exactly. It's not about the who or the why? It's just 'it' man. What if 'it', right man? I told you guys he was the one, el capitan, the man...
(gives a thumbs up and smiles off screen)
You're not dead man. You spent your life aware of the size of your soul as a box that was this small. The world you're from was a box this big. His box, her box...
(pauses)
There's a better way of saying that for sure man. Listen, there is no box man. You just breathe in and you breathe out. We live in a field of love man or, we live trapped, in an imaginary box.
JIM sits up and looks around, quickly becoming disoriented and seeing double, triple... squinting his eyes.
JIM
Where am I? Ahggh. My eyes hurt. You're...
THE DUDE
Well I am but I'm not and where you are can't be answered, man. You are everything and everywhere right now. You are inside me and I am inside you and I and all of this are the universe. I am speaking to you and through us as you are speaking to yourself.
JIM
(searching)
But who am I? What am I supposed to do? How do I know I'm doing it? Where am I supposed to go? Who are you?
SIR DAVID ATTENBOROUGH (V.O.)
I am the smallest of spores of a network of mycelial organisms operating across multiple dimensions as one omnipresence that stretches across time and space JIM.
THE DUDE
I can also be Jeff Bridges or a light that exists in the instant of a dimension you experience when you sneeze man, however you seem to prefer The Dude man.
JIM
So why are we here?
SIR DAVID ATTENBOROUGH (V.O.)
We are here because a single particle of light ignited in you when you surrendered to what might be, a moment ago. You are here to become Jim, the metaphor for the good and true and kind. You're here to help us, help you.
THE DUDE
Listen man, we saw you and we chose you because you flow man. We just opened the door. Now before the man discombobulates our creation man, we need your help to grow, to thrive, to create more abundance man. You're now the big, big man who can man. So here you go... this will give you what you need when you need it. And remember your name man! It's not James. It's JIM!
CUT TO:
EXT. OVERGROWN PARK - CONTINUOUS
The dust clears as Diego gets up coughing, waving his hands. He's covered in the same dust and his groin is soaked. He jumps back seeing the decapitated head of a giant rat looking at him. Where there was a wall is now debris. Diego adjusts and climbs out to... Carnage. A large shadow flies over the entrails of a headless furry body. Diego clutches his baseball bat defensively, looking at the massacre in front of him. James is at the epicenter, lying unconscious amidst various dismembered bodies of giant rats.
DIEGO
JAMES! Oh shit, Oh shit, Oh sh...
Diego rushes to his friend and stops cold, surprised. Radiating out from James' unconscious body are steaming cracks into which a white liquid is receding and small mushrooms sprout up. The steel post in his right hand is covered in blood, and his shirt chest and sleeves are ripped open and off. He's not unconscious but fast asleep with a smile on his face. Diego cautiously prods his friends' leg with his bat, looking around, up, behind, unclear as to what just happened here. James swats at the air and kicks away the nudge disturbing his slumber.
DIEGO
James? Jesus, bro. What the? We gotta get outta here.
James stirs, cringing as he grabs his head to open one eye.
JAMES
Ahhhhhhwe. WHAT are you doing?
My head man. Ahh. It's hot!
James jumps up from the ground unnaturally, instantly off-balance, and leans on his stick. He looks around in shock before stepping back into an oozing puddle of blood and mud.
JAMES
Jesus. What the...! DIEGO. WHERE are we? WHAT is all this? Eccccck. Shit. Oh what.
James throws the bloodied post and backs away from the bloodbath on the ground and trips over a body backwards. Equally stunned, Diego jumps to help his friend. He helps James up as the two stumble back the way they came in.
JAMES
I need a drink Diego. I need a drink so I can figure this out. I can't, can't, do this anymore.
Diego is looking around at an impossible scene.
DIEGO
I don't know if that's a good idea James.
In the lake the giant swan and cygnets are swimming peacefully as the late afternoon sun sets. Fungus quickly overtakes the corpses as the two friends leave the park.
CUT TO:
EXT. CHARLES' VARIETY - LATE AFTERNOON
James and Diego are stumbling home through the city. Shops are closing and plywood, steel bars, and barbed wire are the routine. The city is busy as people rush home.
LOUD SPEAKER (O.C.)
Sundown is 7:18pm. Curfew in effect until sunrise. Do your part. Stay home and keep your pets inside.
Diego struggles to keep James walking straight as they approach a corner store. Pedestrians grimace as they give the blood and debris covered pair a wide berth.
DIEGO
Tony said to watch you so I did but that was some bullshit right there.
He said you were going to change the world bro.
James stops and coughs, leaning against the brick wall.
JAMES
(exhausted)
I remember that swan, and then a flash of light, and then somebody hammered a cement truck into my temples and it's still, there.
An armored vehicle sirens flashing. James winces and sits down hard on some crates. Diego stands off abruptly.
DIEGO
I can't do this bro. We have plans tonight. I'll get you cleaned up and Tony can deal.
A bell rings as a radiant and energetic SHERRY (32) exits the store.
SHERRY
Good Night Charles! Say hi to that granddaughter!
Sherry stops to fidget with a lighter as she tries to light a cigarette. Talking to herself. The lighter won't light. The door chimes. CHARLES (64),a rugged tower of kindness, has followed Sherry out to close down. Sherry is frustrated and throws the lighter. Charles sparks an old zippo.
CHARLES
Sherry. Why are you still smoking those things with all that going on? You make an old man stand up.
SHERRY
(startled, collects herself)
Thank you Charles. I'll take it. Sorry, I...
She lights her cigarette. Notices the disheveled pair.
SHERRY
You've known me a long time.
Sherry gestures to Diego and James and walks down the street.
SHERRY
...better these than the alternative. I have my place now.
Charles is getting plywood barriers ready for his windows.
CHARLES
We all have our journey sweetheart. Good Night. Say hi to Tony... and bring me some of that sage of yours!
(looks over his shoulder)
what the... Ten Minutes Diego!
Diego has slipped behind Charles into the shop. An armored vehicle passes sirens flashing. Charles is concerned, looks at his watch and continues to shut down. James is a mess of blood, mud and dirt. Absorbed with self-pity, defeated and beaten down. He picks up a pair of broken sunglasses and plays with them unaware that Charles is watching.
CHARLES
I've seen you in here for how many years now James? You're a full grown man JIM.
JIM echoes for James and he winces. Charles continues, sweeping the front of the store.
CHARLES
I can see the life you've lived. Those wrinkles on your face. All of this mess. Your dad and I lived that life. and you still come in here in all shades of broken, black and blue.
JAMES
I'm doing just fine and what does it matter? I'm only hurting myself.
CHARLES
These boys are half your age? Is this working JIM? When are you going to stop being afraid of who you are JIM? Didn't you learn anything there JIM? Don't you see YOU can change this JIM? You've got a gift JIM. All this crazy and YOU got it. You're letting it burn out.
JIM rings in James' ears, chromatic vibration in the air, like a rumbling earthquake transforming the ground beneath him. His shirt tightens and he winces at the sound reverberating. He looks down and then up defiantly.
JAMES
You have a lot of questions,
BRO...
Charles isn't there. There's no one outside. The door chimes as Diego exits the store. Inside at the register, Charles looks at James over his glasses. Diego's holding a fluorescent shirt and directs James to change.
DIEGO
Bro. You're a mess. We have got to get you cleaned up. Put this on... it's all he had.
Works. This is it.
James looks at his new banana yellow shirt emblazoned with a green "HOT GRAMMA". Diego's trying to clean blood and debris from him and his friend with a towel and a water bottle, mostly smearing it. James is distant, introspective.
DIEGO
Where are you man?
VINCE (O.S.)
(patronizing)
Thou deboshed fish, thou, was there ever man that hath drunk so much sack as I today? Wilt thou tell a monstrous lie, being but half a fish and half a monster?
Diego stops, closes his eyes. Vince is behind him, drunk, cavalier, in full drag, crop top and too much eye makeup, with a young man BOY (23) on his arm.
DIEGO
Just what we need...
James is a mess Vince. We gotta get him to Tony. We gotta watch him.
VINCE
I don't, just gotta do anything.
Vince lowers his glasses and sees his friend is annoyed.
VINCE
What happened to your...?
And you smell like hot garbage. Look at him. What happened Diego? You need to wake up.
DIEGO
I'm wide a-freaking-wake. I haven't been this, awake, ever, Vince. It was a scene, bro. He or I think something inside him took over and, slaughtered those things. I was in the bathroom... it was a bloodbath bro!
Diego is exasperated. Silence.
VINCE
(thoughtful)
Ok. Boring and serious then. What day is it? It's Sunday... 7PM... I know where to take him. Pick him up. We have plans Diego.
Diego turns to pick up James but he's not there. Turning around again he sees a determined James.
JAMES
It's time to go kids. Good talk, Charles.
James is wearing the broken sunglasses he was playing with earlier, a fluorescent HOT GRAMMA, bloodied jeans, wild hair. He turns and leaves. Diego follows after James with Vince right behind him and the group leave. Charles is there finishing closing the store. He looks up at a giant pigeon.
CHARLES
I gave him his choice. Let's see if those fools can help him.
CUT TO:
EXT. ST. FRANCIS'S ANIMAL CLINIC - MOMENTS LATER
The St. Francis Animal Clinic is an early 1900s art deco building of stone and tile with animal sculptures around and above it's facade. The bars on the window and barbed wire are an unfortunate blemish on a beautiful building.
Clusters of 5 or 6 people are gathered on the steps and at the curb talking, many smoking cigarettes, some looking at their watch and entering the clinic.
Vince, Diego, James approachDiego and Vince are talking to themselves, keeping their distance from James's aloofness.
In the group Father Tony in plainclothes is talking with friends and notices James approaching with the two sidekicks. He excuses himself to confront James.
FATHER TONY
(Diplomatically)
Whoa. Slow it down JIM. I can see you've got something in your heart that has your mind running.
James stops and tightens his shoulders not open to this confrontation yet he clearly respects the man, takes a breath and steps back crossing his arms.
JAMES
(defiantly)
You can call me James, Tony.
(air quotes)
"Father" Tony.
James looks around at the "diverse" group of ups and downs, well worn people from all walks. James' wardrobe receives a few sideways glances and raised eyebrows but oddly mostly looks of recognition and even acceptance. Caught off guard, his sense of belligerence is replaced by self-consciousness. Sherry looks over, eyeing him up and down and watching TONY understandingly.
JAMES
(Disrespectfully)
What racket do you have going on here TONE?
FATHER TONY
(laughs)
Oh JIM. I knew your father and I've known you most of our lives and I count you as a friend. I'm not here to tell you what to think. This incarnation is my journey. The demons swirling in my head are an alluring bunch and I'm grateful for what they've given me. I hope that you also get to open your eyes and see what is happening for you, and not to you kiddo. That's your journey. When you're ready to have that conversation there are more than a few stories here to connect with.
Sherry approaches with an attempted grace that is both practiced yet altogether sincere.
SHERRY
Father Tony! Looks like you've got a live one here?
Sherry looks James up and down, pausing and sighing at the shirt he's wearing.
SHERRY
...more like a hot mess.
(prayer hands)
You probably don't want to be here.
(To James)
It might be a little too much grace for you to handle. Those two are definitely more your speed.
Sherry points at Diego and Vince. Vince is in the middle of explaining to Diego how to mime having, teasing, and flipping long flowing hair. Diego is trying but looking substantially less Vogue than Vince. Diego sees they're being watched and tries to stop Vince who can't be bothered.
VINCE
(dismissively)
Upon your heads, is nothing, but heart's sorrow, And a clear life ensuing.
SHERRY
Keep coming back Vince. We're here and we love you.
(to James)
You're pretty tough aren't you. I think you might be wondering why you're doing all of this... You know you might actually hear something worth hearing in there.
(motions to the clinic)
James is annoyed and edges away.
FATHER TONY
(diplomatically)
Sherry - thank you. James, You're welcome to come in and listen.
(Raising his voice
towards Vince and Diego)
And Vincent, it's always good to see you. The coffee's hot and no one here will judge you.
VINCE
Ahhhh Tony. My role in this life is far more entertaining. Diego! Out. We're done with this cult.
James is watching Tony's dismissed sincerity as Vince struts off with a confused Diego hesitantly in tow. A hesitant James slows to follow them, looks at them and this group of strangers. Father Tony touches his arm.
FATHER TONY
(kindly)
James, I'm going to talk. You can choose to listen or not. How's that? If nothing resonates...
Father Tony gestures to Vince and Diego crossing the street continuing to mime various vogue routines.
FATHER TONY
...that escape over there, will be where right you left it when we're done. If not for me, maybe for your father.
James looks back at Diego and Vince walking an invisible catwalk across the street. Diego drops a loose bottle of beer and it smashes. James looks into the clinic where Sherry is at the door greeting and welcoming. He follows Father Tony up the stairs into the building.
CUT TO:
INT. ANIMAL CLINIC - MOMENTS LATER
Inside what by day is an animal hospital the group from outside has now gathered under the glow of fluorescent lights. It's a busy, cramped room as everyone works together to reconfigure the chairs, setup tables and coffee and take their seats. The walls are covered with an eclectic collection of paintings, sculptures, photos, pictures of animals of all sizes. This is an animal clinic with an immediate personality that shines through.
Father Tony is at the front of the room talking and directing a few others. James is hesitant as he enters alone and sees people working together cheerfully, unstacking chairs and reconfiguring the room. He is acutely aware of his own appearance, a neon "HOT GRAMMA" still front and center. Sherry notices and hands him a chair to keep his hands busy. Along with a few others they line up the chairs row by row.
SHERRY
You know, there's not many people that could pull that off without flinching. That's some shirt.
Sherry passes him a chair as they work and talk.
SHERRY
Here, put these along the back.
JAMES
Somebody thinks it's funny to do this to me. HOT GRAMMA wasn't really part of my Sunday plan for this week you know.
(venting)
Everyone has an opinion about what I should do but they don't have a clue what I am dealing with, what is happening to me. I don't know what I'm doing here but apparently I "owe it" to Tony so, I'll listen.
SHERRY
(under her breath)
Somebody thinks they're special.
JAMES
Excuse me?
Sherry collects herself.
SHERRY
Just listening is a good idea. It sounds like you've got a lot happening to you in there... I can't tell you what you need.
The room quiets down as the meeting starts. Sherry turns her back to James and sits down to talk to an elderly woman. James is left standing and awkwardly takes a seat on the isle beside Sherry. He surveys the room seeing all types old and young. His face reveals his disinterest, judgement and ego but also a stubborn fear. He "doesn't belong here". A speaker at the front is droning on about traditions and responsibilities, as he introduces someone who gets up to tell a prayer.
SPEAKER (O.S.)
"...For our group purpose there is but one ultimate authority--a loving God as He may express Himself in our group conscience. Our leaders are but trusted servants; they do not govern. 3. The only requirement for membership is a desire to stop drinking..."
James, losing patience, looks at Sherry who is on the edge of her seat, smiling, fidgeting with an unlit cigarette in her hands. He's annoyed by her "chipper sincerity" and looking down his expression changes. Her sweater has come up her arm revealing scars on her wrist.
Sherry notices James looking at her arm and pulls her sleeve down.
SHERRY
Surprise. That's my out. I slash up. You don't have the exclusive on demons. Me and death apparently don't get along yet.
SPEAKER
Our speaker tonight is Tony T. from Austin.
Father Tony approaches the podium. Sherry stands up and hoots. Tony takes a big breath and smiles. He rolls up his sleeves revealing what look like gang tattoos. These aren't a late night artistic expression but a badge of unfortunate accomplishment.
FATHER TONY
(with practised ceremony)
Hi, My name is Tony and I'm an alcoholic addict.
GROUP (O.S.)
Hi Tony!
FATHER TONY
It's been 15 years, 3 months and 4 days since my last drink.
CROWD (O.S.)
(Hoots and applause)
TONY (CONT'D)
So... I've been to an awful lot of meetings and I've done a lot of listening in these rooms and strangely I haven't been wasted since before that first meeting. I am convinced in my heart that I owe that to, um,
(pauses)
...not drinking.
The crowd laughs. James chuckles too and looks around surprised. Sherry glances over to watch him.
FATHER TONY
I always carried this incredible weight with me everywhere and I'd be there wondering... Is this the right version of me? The drink, the drugs were there to convince me it was, and insured tomorrow was guaranteed to be better.
(pauses)
I was going to be OK, tomorrow.
(breathes)
As long as I drank that truth, I'd be back to buy another bottle. After a while it got to the point where the reason I was drinking was, because I had been drinking. It's difficult to have a spiritual awakening when you're throwing up in the toilet.
The clock on the wall shows time passing and James, now seated upright, is listening, intently. Sherry glances over now and then but like the rest of the room is genuinely focused on Tony's story.
FATHER TONY
At this point I was drinking around the clock. I would leave myself messages to remember, don't run out of booze! I remember seeing those little notes. A lot of good they did as my hands were shaking, and I was putting on shoes with laces full of knots. I'm sitting there, shaking, trying to undo all the knots in my life with a plastic fork and I remember my mind saying. It's time to take action. No, No, there's a way out of this. There's always a way out. It's time. I'll have a drink and figure it out.
James is visibly affected. It's a lot to take this in and he can't accept it. The LOW HUM returns reverberating through the room and James winces. The visual tinittus sets in and the whole room seems to vibrate with energy. JIIIIIMMMMM. Pictures on the wall shift, the door frame creaks, dust falls from the ceiling fixtures... yet no one else notices. The room is entranced by Tony who is speaking in slow motion now, his words stretched out and surreal. James is sweating, frozen, tears running down his face.
Time speeds up as Tony finishes his story.
FATHER TONY
...So as long as I do that every day... I focus on getting my head on the pillow sober... My God gets me there. She may not be your God or your understanding of God. She might be a friend, an energy, an idea but she gets me there. Thank you.
The crowd applauds. Sherry looks over at James who is deflated, defeated, tears running down his cheeks. He's quiet, almost catatonic, as the room stands and busies again.
SHERRY
(with grace)
"Hot Gramma" need a tissue?
James exhales loudly, wiping his face on his sleeve.
JAMES
(caught off guard)
No, I'm OK. Yeah. No... (sighs)
Yes, Please. Thank you.
James takes a tissue and relaxes into a more natural posture.
JAMES
I didn't know all that about him...
SHERRY
Come with me!
Sherry is walking and talking to the back of the room where a group is gathered around waiting on a coffee machine.
SHERRY
(brash)
He's not just a pretty face is he?
Sherry notices a man struggling with the coffee machine and steps in to help. James is quiet and listening.
SHERRY
Oh wait you have to move this, and then it comes out like this. There!
Sherry has fixed the coffee machine and turns to James.
SHERRY
See.. that's kind of the point. We share here without ego, without identity, because it's nobody's business but our own.
(joking)
I mean ME... I... I'll mess you up kid!
(pause)
...but my story, might also be what you need to hear.
Father Tony is working his way through the room. Sherry is handing out coffees and passes one to James gesturing to give it to Father Tony. James is humbled and finding comfort in service here.
FATHER TONY
How are you Jim?
The ring in the air returns for a brief moment.
JAMES
(exhales)
I'm sorry. I'm sorry. I just...
(deflated)
Shit. Excuse me. I...
FATHER TONY
It's ok to just listen James. Let go for a minute. You're carrying a lot.
A CRASH O.S. and a picture on the opposite wall falls to the ground. The HUM returns, louder and the room is vibrating. James looks around frantically.
JAMES
Argh it's happening again!
FATHER TONY
(disoriented)
What is that noise?
JAMES
(surprised)
You hear it too?
Sherry and others are clutching their ears. Pictures are vibrating, dust is falling from the ceiling fixtures, a light goes out. The HUM subsides and everyone is frozen in their tracks. THUD. CLATTER. A metal table against a tile floor SCRRRREEEEK and silence. SCREECHES and SCREAMS and a stampede of feet clamouring in the next room. James, Sherry and Father Tony are frozen watching in shock as the door handle starts to turn.
MALE INTERN (O.S.)
Get away from me! No, no, no, not him. Oh my God. Open the door! Open!
The handle is being rattled nervously on the other side and then stops and finally the MALE INTERN (23) bursts out, falling on the ground watching the door and looking to the room.
MALE INTERN
(terrified)
RUN!!! Get out of...
As he tries to warn the room a giant kinkajou, KIKI, fills the doorway and tries to squeeze through. He's adjusting to a new size, stuck and pushing through the steel door frame.
A high-pitched whine in the air seems to cause him pain. The drywall is cracking and falling as the intern who's fallen is trying to get away.
MALE INTERN
No Kiki! No. Good boy.
Kiki is overrun by four humpers who squeeze over, under and past the larger animal, trampling the intern, to pounce on people stacking chairs in the room. Kiki gets a paw in the eye and ROARS in pain. With a violent push the door frame gives way in a cloud of plaster and wood. From the dust the four humpers emerge with Kiki who ROARS, ready to fight. Sherry screams and looks at Father Tony. The animals are approaching their prey with a wild look in their eyes.
Father Tony hand outstretched is equally bewildered and cornered as the five animals approach the whole group near the coffee machine. Outside sirens can be heard in the distance, ringing and loudspeakers are blaring. The fluorescent lights are mostly broken flickering and hanging from the ceiling.
FATHER TONY
JIM - Do you have that stick of yours?
He looks over his shoulder and stops frozen, confused, unsure as to what he's looking at. Sherry frantically looking to him for guidance sees this and looks back with the same incredulous reaction. The LOW HUM returns and a hymnal JJJJIIIIIIIMMMM rings out. A golden glow lights up their faces, the room.
JIM steps forward. It's not James but a musclebound Tarzan, Hercules, Conan, Dwayne Johnson, Jason Momoa version of James... JIM. He's transformed from the middle-aged, unmotivated manboy bum into a more than slightly beefcake, exaggerated barbarian hero type. He rips the HOT GRAMMA shirt off in one motion, hair down, skin bronzed instead of sickly, nipples pert, a wholly satirical comic book rendition but real and in the flesh.
Everyone in the room has to stop for a minute to understand what just happened. The creatures themselves stop. Things have been weird but this is still a lot to see.
JIM
(gravel and grit)
Let's do the work.
SHERRY
(confused)
What? What the fuh..?
FATHER TONY
Look out!!
CUT TO:
EXT. BOHO LOFT - ROOFTOP - RAINY NIGHT
On the rooftop overlooking the clinic, a GIANT PIGEON, is watching the pandemonium on the street below. It's coos are remarkably similar to the low vibrating JIM sound. On the street below, the crowd from inside the clinic are fleeing the giant creatures within. The pigeon blinks slowly.
CUT TO:
EXT. ANIMAL CLINIC - CONTINUOUS
As the crowd from inside disperse chaotically, armoured cars try to move in to block the street while militia in black tactical gear set up barricades to corral the terrified crowd to safety.
The deep LOW HUM returns and everyone stops to discern the source that reverberates through the air. Water on car rooftops and in puddles reverberates. A golden glow is seen through the vertical blinds of the front windows. Silence and then a SMALL CRASH is heard within. The front window breaks, it's curtains pushed out by somebody or something within. BOOM. A lamp post shifts on it's base. Silence again. Some of the militia uneasily ready their flamethrowers. A lone SCARED WOMAN runs out of the building crying hysterically.
SCARED WOMAN
I uh... I... Don't... Help me. Please. Run. I want to go.
The vibration of the HUM intensifies until KAPOOOOOFSHH. The street lights shatter in a shower of sparks and the front window of the clinic, along with much of the ornate stone facade, explodes as Kiki, JIM, and the humpers crash on to the street with an unnatural force that sends shockwaves rippling outwards, the force shattering windows and pushing back the armored vehicles like toys. Down the street electrical transformers blow and the street goes dark.
Midair within the exploding cloud of dust and fractured fragments of the stone facade, a humper lunges at JIM who lands confidently on his feet, amidst the chaos, sliding back, feet digging into the asphalt, the rat's open jaws in both hands. Muscles bulging, JIM effortlessly uses the momentum of the 600lb beast to thrust it into the driver side window of a parked car, it's legs clawing at air trying to escape before slumping, defeated. As the debris continues to settle JIM turns around to face the clinic.
Kiki is motionless under the weight of the remnants of the stone facade. The other two humpers are dazed but quickly shake themselves off and leap to attack JIM. In a weightless ballet of twists and acrobatic deflections he spins and the two humpers have their bodies forcefully shorn in pieces by his humping stick. A messy, visceral, chunky shower of blood and entrails covers the crowd that has frozen in bewilderment at what they're seeing here.
In the rainy night sky above two giant humper rats' heads spin through the air. The first lands with a wet SCHPLUCK of sinew, blood and feces at Sherry and Father Tony's feet, now on the sidewalk outside the clinic. The second bowls over a group of militia with a similarly incontinent mess of slaughterhouse floor debris. Sherry and Father Tony simultaneously lurch, struggling to contain their nausea.
Still midair, JIM lands from an impossible height. The last humper rat SCREECHES.
JIM
(deep)
Let's dance.
Some of the militia lower their weapons in confusion. Sherry looks at Father Tony with bewilderment. The humper rat pauses before lunging forward, SCREECHING.
JIM spins to deftly slide his humping stick down the poor animal's throat who's face instantly turns to innocent terror before his entire head and spinal cord are torn from his body. A moment of silence and JIM, standing triumphant, and the nearby crowd are showered in an unfortunate slurry of blood and unknowns. Some of the crowd are angered, most are nauseous and vomiting. A few of the militia have cameras filming the carnage. The crowd, covered in blood and entrails, are truly unimpressed now, all wincing in varying degrees of disgust.
(KIKI)
(screaming)
SQUEEEYEEEEYEEEYEEEYEEE.
Kiki rises, one eye closed and limping on one leg. He's moving forward, stalking, looking at the militia who all back away and eyes the remains of other animals littering the street. The hair on Kiki's back rises and he shakes off the rain. For a moment he looks around in earnest, as a pet who'd lost his owner. Back to JIM and he growls before leaping forward. JIM bends over backwards, low, grabbing Kiki's open bottom jaw from both sides, the tongue darting in and out of his mouth covering JIM in a sticky, foaming saliva, as he flips the beast through the air.
Avoiding it's clamping jaws, JIM throws Kiki at the armored vehicles and it hits with a guttural WHIMPER before skittering into the darkness.
SHERRY
He killed them. He, he, just, there's blood. Oh my God. Oh my gu. Ergh...
Sherry vomits into the puddle. Father Tony thought he understood but clearly now frozen, jaw dropped, is unsure about what he's just seen.
Across the road, Diego and Vince run up, unaware of the specifics of what just happened. They walk past crowd in shock, themselves confused. Father Tony notices them and starts to wave frantically.
DIEGO
Hey, there's Father Tony bro!
Diego hasn't quite noticed the carcass littered street as he runs to Father Tony and then he does.
DIEGO
Damn, What's that... ewww... smell?
Diego stops in the middle of the street, unaware, completely disgusted by the scene he's walked into the middle of.
VINCE
(cautiously)
Diego. Stop Diego. Don't move.
Kiki has emerged behind Diego.
DIEGO
What? Wha?
VINCE
DON'T MOVE DIEGO.
Diego turns around and locks eyes with the animal as it rises up on it's hind legs. It's brown eyes are inquisitive, contemplative and in a stare-down with Diego as it cocks it's head. Something that resembles a cross between a tapered yam and an overcooked sausage rises from the fur between it's legs steaming from the rain. Diego swallows hard.
DIEGO
(terrified)
Vince! What I do bro? What do I do? I can't. I can't.
VINCE
(sympathetically)
Easy now... Don't... clench.
Diego panics and turns to run. Kiki lunges and smothers Diego dominating him in a pile of humping fur, and wild, big brown eyes. Diego is enveloped in fur, wide-eyed, perplexed, curious, terrified, and shocked to his core.
Vince and everyone watching grimace and struggle to look away.
Fifteen yards away, JIM notices his friend in distress. He picks up the remnants of a stone monkey from the facade and heaves it at the kinkajou.
JIM
He'll only disappoint you. Chew on this.
Kiki YELPS again as he's flung back. The look on it's face is less predatory now, more innocent and scared. JIM leaps forward and lands a rock of a fist on it's chin, a few broken teeth flying through the air. Mid-air Kiki lashes his tail out pushing JIM off balance onto his back foot. He claws at JIM who ducks and in one move spins ready to gut the now exposed underbelly. The creature looks down at JIM again innocent and scared as JIM begins to unwind and deliver the final blow.
Vince and Diego are in awe at this magnificent display. Father Tony grits his teeth and slowly tightens his shoulders. Sherry is not enthused or composed watching this happen.
SHERRY
(screams)
STOP! Look at him. He's not trying to hurt us!
Both JIM and the KINKAJOU blink, pausing to look at Sherry as they both land on their feet quietly. JIM is stunned.
Kiki sees an opportunity to quietly escape and slinks off, limping, up and over the building into the night.
JIM looks around and is seemingly now aware of the grotesque egomania that he embodied only a moment ago. He looks at his hands and body covered in a layer of death. His humper stick is covered in oozing blood and flesh. He drops it quickly pushing it away.
At his feet, the giant decapitated head of a HUMPER RAT looks up at JIM blankly. He loses his composure and vomits all over the creature. Standing up he weakly wipes his mouth as he looks at Sherry in earnest and collapses unconscious.
People from the crowd are scrambling to leave the destruction. It's clearly still unsafe to be out after dark. The militia are fractured and collecting themselves.
In the distance sirens can be heard.
Father Tony, Vince and Diego are standing over JIM, now smaller in stature, not quite James but also not the heaving, barbarian Adonis they just witnessed. Diego is still a blue unhinged mess, hugging himself rocking back and forth after his ordeal. Vince is distant but composed and kneels down to help his friend James. Sherry is not amused.
SHERRY
(exasperated)
What in the, HOLY Mother Mary of Fffff, was that? I can't even. Look at the clinic TONY! He, slaughtered, all of them! Who? Who IS this???
FATHER TONY
Breathe Sherry... This is JIM or... James... but I suspect he's JIM now.
DIEGO
(bewildered)
Wha was that noise?
VINCE
(distant)
...the murmurings of innumerable bees Diego... sound to hate...
SHERRY
Vince. Seriously now what are you on now?
VINCE
Right. James, let's go friend.
FATHER TONY
With, Grace, Sherry.
DIEGO
Wha was that noise?
FATHER TONY
I heard that noise too Diego. It was... Right now, you boys need to get JIM out of here, now - this, He, is going to...
Father Tony looks over at the militia now gathering themselves and two of them talking on radios.
FATHER TONY
They're going to be looking for him. Sherry, please. Take them to your place.
SHERRY
What? No. Are you kidding? This is not normal. This is not...
FATHER TONY
Service Sherry. This is FOR you. We can't be outside and they can't go their apartment. Please. Go!
The group parts ways leaving in opposite directions as the militia try to contain the situation.
CUT TO:
EXT. BOHO LOFT - ROOFTOP - CONTINUOUS
On the rooftop overlooking the clinic, the giant pigeon is joined by a second to watch the pandemonium on the street below. The group are weaving their separate ways through the smashed vehicles and carcasses. The city rooftops are full of moving shadows and the footsteps of wild animals.
CUT TO:
EXT. SHERRY'S PLACE - NIGHT
A few miles away and an hour later, the rain has stopped in a more industrial part of the city. The silhouette of the city is visible on the skyline over steel and razorwire- clad gates. The group walks sullenly down the still wet street, water dripping from above. Metal clatters and animals fight in the background of long fleeting shadows.
Diego is deep in PTSD searching the corners around them frenetically, Vince carries a still incoherent James and Sherry is fidgeting as she walks ahead faster than all of them.
On warehouse rooftops above, giant pigeons land and quietly observe the group below.
SHERRY
Hurry up. We're almost there. I don't know why I agreed to this.
DIEGO
How much further? Th, this, this really doesn't seem like a good idea at all. Where... are we? What is that smell?
SHERRY
You ask a lot of questions.
VINCE
Sage Diego. It's white sage and the humpers can't stand the stuff. It cleanses your chakras.
Sherry looks at Vince shifting her expression in surprise.
SHERRY
Yeah. Yes. It does, It will.
They arrive at a steel gate painted bright blue and yellow stripes. A rusting sign above says "Active Surplus - We buy anything". Beside the gate an oddly out of place gorilla sculpture in sunglasses stands guard. Diego smells the air again, while Sherry pulls out keys and unlocks a chain and padlock.
SHERRY
Ok we're here. Let's go. Hurry up ladies. Inside.
INT. SHERRY'S PLACE YARD - CONTINUOUS
DIEGO
(to Vince)
How does she make me feel like a little bitch every time she talks?
Vince taps his nose and smirks.
VINCE
That, is a Diego problem, Diego.
Vince and Diego peer into the shadows to see glimpses of what seems like an overgrown arboretum in the alley of a junkyard. Diego and Vince look at each other hesitantly watching Sherry and eyeing the darkness inside.
SHERRY
Get inside. I have to lock the gate.
Sherry pulls them all in, closes and bars the gate behind her, then flips a large breaker on the wall. A web of string lights turn on revealing the inner courtyard of Sherry's compound. The engine of a compressor somewhere starts up and the space comes to life. Anxious reluctance is replaced by a moment of surprise and quiet wonder.
What was once the holding yard for an oily, rundown metalworking shop is now a lush greenhouse full of sage bushes, hanging plants and flowering bushes with string lights above illuminating it all. Oil cans and old tires have become planters and supports for tiers of various plants that create a wonderfully lush, aromatic and welcoming garden. The bright blue, orange and yellow of a bubbled old logo along one wall points the way to a glass rollup door where Sherry heads.
Diego takes a deep breath while Vince carefully maneuvers James to a bench at a long wooden plank table beside the rollup door. Sherry rolls up the door and starts to tidy for them.
SHERRY
(firmly)
Stay outside until you're clean.
She motions to an outdoor shower.
SHERRY
I'll get some fresh clothes. That can all get incinerated in the furnace.
She eyes each of them taking a mental note. Vince is quick to pose for her but it has no effect. Even late at night Sherry's a busy energy and is off to find them what they need while they catch their breath and take in the new surroundings.
DIEGO
Look at that.
High on a neighbouring building, two giant pigeons are perched, silhouetted in the night.
DIEGO
Are they watching us?
VINCE
I'm not sure they're watching you Diego, however it's hard not to watch me.
DIEGO
Do you ever get bored of that? We've lived together for six years? I think we know each other yet most of the time I get slightly more than 3% sincerity from you.
VINCE
Diego. I am truly grateful for your...
Sherry shows up abruptly interrupting the brief moment of sincerity by throwing a towel in Vince's face and then at Diego. Diego is disheartened.
DIEGO
Thanks.
Diego heads off to the shower.
Sherry has started watering and checking various plants. Vince sits and breathes out deeply as he holds his head in his hands. James is catatonic, breathing slowly.
VINCE
(rambling)
The shell must break before the bird can fly...
SHERRY
Ahhhh... no. You don't get to come here, quote poetry and play victim after what we just saw Vincent.
Sherry continues to water the plants and then puts the can down on the table and walks over to the wall to start unfolding what looks like wooden shelves. Diego is in the background showering.
SHERRY
What was that? I haven't seen you in years, clearly for the better... ...and this, this man who clearly is changing what it means to hit bottom just slaughtered giant rats who want to hump us after suddenly becoming some kind of absurd 1980s professional wrestler. I'm covered in blood and it's ok? It's OK?! "Vince" gets to sigh and wax poetic about Tennyson. It's not OK asshole. This is not normal. You're in and you're out. NO bullshit.
Vince looks at her with an indignant disdain. Not in the mood bitch. He's a glam version of Sid Vicious covered in sparkles and running eye liner. Two more giant pigeons land on an adjacent water tower and watch, listen. Sherry continues to work, fastening ropes and fabric to one shelf and then another.
VINCE
(patronizing)
We don't know what normal is Sherry. You taught me that.
Sherry closes her eyes, breathes through her nose, holding her breath while touching her fingers in prayer hands. She breathes out.
SHERRY
(under her breath)
This fucking guy.
(aloud)
You're right Vince. Forgive me. Your bed awaits.
She finishes building the now discernible double hammock, bunk bed. Across the road another pigeon lands on an aging steel billboard and watches the scene. Sherry moves the watering can, then moves it again and sits at the end of the table.
SHERRY
Seriously though. Do you even know who you're living with? Do you actually know anything about him or why he's catatonic in my kitchen right now? Do you have any explanation for why in one minute he's a self-pitying, ego-centric child of a man and the next he's a barbarian murderer? What happened tonight?
VINCE
James is a good man. It's complicated. His father and Tony were...
(drifts off)
...let's just say they made me look like a saint. You've heard Tony tell his story. James' dad was Tony's first advocate but then he went out to the street and, he never came back. Broken home, absent father, controlling mother and a liquor cabinet at fourteen was all I've gleaned from him. I don't know why Tony brought James to us. He's always tried. He seems to know something about us we don't know.
SHERRY
So no real answer then. Just a normal Sunday night?! Cocktails and death and muscled lunatics...
VINCE
(sighs)
Aside from James getting some "help", it was mostly a normal Sunday night...
CUT TO:
INT. BOHO LOFT - EARLIER THAT NIGHT
Vince's normal Sunday night features himself as Jim Morrison walking into a Hunter S. Thompson buffet of excess with drag queens and little paper umbrellas. The apartment is a mash-up of home made light show, prerequisite party utensils, and outlandish props with some of the same characters in various states of undress and consciousness.
Psychedelic music is playing a bit too loud for what is a bit too early in the night.
Vince is standing in the light admiring himself in a Jefferson Airplane liquid light show, rubbing sparkling body paint into his nipples with a large dildo strapped to the outside of his leather chaps. He pauses and then runs into his bedroom to an unseen partner.
RUPAUL (V.O.)
(Vince's inner voice)
It's all a dance Sherry. Life is our theatre and this was just one more act for us to play.
Diego is sitting at the cluttered coffee table across from Street Kid Steve focused on a game of "OPERATION" drinking a very large, very tropical Blue Curaçao. He's wearing oversized Elvis Presley sunglasses and blowdrying his armpit with his free hand while Steve struggles to transplant a liver. Over the music Diego just makes out someone banging on the door and stands to open it.
Cynthia opens the door from the hallway before Diego gets there handing the PIZZA GUY a wad of cash and taking the three pizzas in one spin and a twist of a move. Cynthia hands the boxes to Diego who nearly spills his drink and she walks (skips) to the door of Vince's room, stepping through beanbags and mess along the way. Hands full, Diego is slow to react and tries to stop her but it's too late.
Cynthia stops in the doorway, looks into the room, and then up at the ceiling before turning on her heel to walk out. Vince stumbles out of the room following her explaining, pleading with words we can't hear over the music.
RUPAUL (V.O.)
Cynthia what a dear. She was a bit confused about Boy but I explained I was wearing a strap-on so all was still hers.
Boy emerges from the bedroom alongside a perplexed short, heavy set man, EDWARD, in latex. Diego looks at the scene to his left then to the full blown domestic on his right and drinks his drink.
A hymnal JIM begins to reverberate through the air causing everything to vibrate and resonate. Steve drops a liver into the game getting shocked in the process. Diego starts to bang his head a little more thinking it's the music. A flash of light gets Vince's attention and he taps Diego on the shoulder, to approach the window and see what's happening outside.
KACCCHHISSSSHHHHH as all the windows on the street side of the apartment shatter inwards from the shockwave of the explosion outside. Vince is thrown back against the wall. Diego's sunglasses fly off his head and he's covered in a wash of the tropical Blue Curaçao he was holding. The rest instinctively dive for cover with varying success. The lights go out and the emergency exit lights come on. A yellow light flashes from the street outside. A yellow light flashes from the street outside.
Diego stands up, disoriented, blue, with small shards of glass in his face. He takes a step and trips over an overturned houseplant.
DIEGO (RUPAUL V.O.)
Oh my. That did not sound so nice. My drink!
Vince is looking at himself in the unscathed mirror, admiring just the right amount of scratching on his face to make him appear rugged and dangerous in a Ziggy Stardust way.
VINCE (RUPAUL V.O.)
That was... a trip. Did you know this mirror has been in my family for generations?
Diego walks to the window. The two stare in bewilderment at their friend, now JIM, below. In slow motion JIM deals death blows to three of the humpers spraying blood and entrails on the huddled bystanders. It's a gruesome ballet of gratuitous machismo more than bordering on animal cruelty.
DIEGO (RUPAUL V.O.)
Oh my, Oh my. Look at this. It's, it's James!
Vince joins him. He looks briefly at Diego who's face and shirt are blue and then outside with surprise and wonder.
VINCE (RUPAUL V.O.)
Grab your humping stick Diego, let's go.
The two step over the debris and head for the door. Diego stops abruptly at the mirror.
DIEGO (RUPAUL V.O.)
Look at me, I am a Goddamned smurf.
VINCE (RUPAUL V.O.)
This is a Diego problem, Diego. We have to leave.
Vince rushes out the door grabbing his humping stick with Diego following quickly behind.
CUT TO:
INT. SHERRY'S PLACE YARD - CONTINUOUS
SHERRY
(unimpressed)
Wow. That's your story. I don't know why I expected any more from your little parade. Considering you live with this man I would have guessed a little insight and yet clearly little has changed in your world.
Diego approaches in fresh linen pants and shirt, drying his hair.
SHERRY
Tweedle Dum, are you full of wise updates or more of the same? Do you have any idea who or what just happened?
Diego sighs and his entire body asks what did I do.
VINCE
(defiantly)
Are you enjoying being superior? Is the judgement helping? Diego is just as surprised as me about what we all witnessed here. We were keeping to ourselves as expected.
James is still catatonic and motionless. Diego however pauses, straightens up before inhaling through gritted teeth.
DIEGO
That's... not exactly... accurate...
VINCE
(Caught off guard)
What?
DIEGO
I told you already. The mushrooms... well the fungus.
VINCE
Oh the magic mushrooms did it. We've, all, done shrooms Diego. This is not shrooms. How much of those did you give him?
DIEGO
(winces)
Well... it's not exactly mushrooms, more of a fungus... They were looking for test subjects and James was right there... and you know he always needs money so I told him I was lending to him and he always just forgot as usual. So it was kind of like his pay, for participating.
SHERRY
(confused)
Participating in what??
DIEGO
(sheepishly)
Well I work at...
VINCE
(annoyed)
Wait I'm going to ask you again. You fed James this martian fungus and thought it'd be, ok? You fed, our friend, something we don't fully understand, from another planet, that we know turns rats into giant rodent rapists?
SHERRY
Hold on... what?
DIEGO
It, it wasn't like that. It wasn't having any effect on anybody and it seemed like an easy bet. It doesn't affect humans they said.
VINCE
Who's they? He would never agree to this. He gets uptight when I read his mail.
DIEGO
Wait do you read my mail?
VINCE
Who is "they" Diego? When did James ever agree to this? Everyone reads your mail.
DIEGO
(grimacing)
He.... didn't exactly... know.
(with resignation)
I put it in the fruit loops.
SHERRY
Wait... You work at DORTech? You're, one of the people making these things?
DIEGO
No... No, we're going to fix it. It wasn't supposed to ever... It's not... It's complicated, there's so many people and these old dudes in suits that... they're gonna fix it. It's a job bro.
SHERRY
They're not fixing anything. It's a weapon. Haven't you noticed there are more and more of the "community militia" on the streets? The patrols have increased. The attacks get bigger every week. I've been watching the traffic and seeing the big data start to move again.
DIEGO
What do you mean you've been watching. You have a computer? I thought they took everything away to protect us...
Diego is suddenly nervous being there and looks at the walls, the fence, the barbed wire.
DIEGO
How are you? The humpers? Why aren't they ripping the walls down to get in here?
VINCE
That's why all the sage Diego...
(to Sherry)
That smell... you're burning sage...
SHERRY
Yes, Einstein. It's the only way to keep them away from the electromagnetic radiation. It does something to rewire their urges. Look up... Can you see those pigeons? There are four or five we can see but dozens in the darkness... waiting. Come in. Look at this. They're doing something. It's big and it's happening in two days.
INT. SHERRY'S PLACE - CONTINUOUS
DIEGO
What is this? I've never seen this.
SHERRY
Of course not. You're the lab rat. Those men in suits? They're using you to make the real prize. This is all their communication. They don't even bother to encrypt it now or I'm not sure if they can. James is just a decoy to keep you off the scent... but that pet we saw tonight? That used to be a 30 pound furball and now it's 1800 pounds of muscle. Imagine if they did that to something actually dangerous.
DIEGO
But that was all natural - the fungus that came with the astronauts. That woman with the rats under her house.
SHERRY
Wow. You really don't see any of this and you work there. Yes. It was natural. The rats aren't natural. Have you seen the park? Those pigeons up there... even that pet we saw earlier. That's a side effect, nature adapting. It's not all a conspiracy... but they're trying to burn all that up. The rats were the first experiment and they lost control... but did you notice they're never around when the militia arrive? Something big is happening in a few days.
Vince stands theatrically, again getting into character.
VINCE
Until the latter fire shall heat the deep; Then once by man and angels to be seen, In roaring he shall rise and on the surface die.
DIEGO
Come on bro. Enough.
SHERRY
No Tennyson here is right... absurd, completely out of context, but right. Nature won't respond well to this... James might be the beginning of that response... We weren't supposed to be affected. That noise the pigeons make.
VINCE
Guys...
James is awake, lucid, and has been listening seemingly the whole time.
JAMES
You used me as your human guinea pig Diego?!
DIEGO
Oh... I... No bro.
JAMES
Don't call me bro, bro. You're 27 years old and you're a lab technician, not a drag racing hoodrat. Grow the hell up.
DIEGO
Ok bro... I mean, James. I didn't, I didn't use you. It was supposed to be harmless and it, it was. Nobody was having anywhere close to your reaction. Even you. It wasn't... until... Saturday. What happened at the church James?
James is frustrated but can see his friend is sincere. He stops and seems to struggle internally with his memories.
JAMES
I don't remember. I was. I was... over it all. You. My life. The party that just stayed the same. The guilt. The constant voices. Fighting, scratching... this marathon we've been on for the last five years that doesn't get any better. Giant rats man. I thought I had it figured out. I thought living with what was in front of me was possible. No hindrances. No baggage. I... couldn't do it. I couldn't surrender... to all of it.
James stops. A wave of understanding passes visibly over his face, his posture.
VINCE
James... breathe man. Breathe.
JAMES
No it's Ok. I remember. That's when it happened. I gave up trying to control my life. I accepted everything and surrendered.
James stops again. He looks up hearing something inaudible.
JAMES
Can you hear that?
(pauses)
Diego, you have to get me in there.
DIEGO
You mean my work? DORTech? I can't get you in there. It's locked up tight. What do you need? I have a keycard.
JAMES
They're building something...
James passes out mid-sentence and falls back. Vince and Diego jump to catch him.
Above, a giant pigeon takes off and a second remains watching the scene.
CUT TO:
INT. DORTECH - SECTION ZERO - NIGHT
Enveloped by a mass of luminescent fungal growths, the face of Miller is still recognizable. His eyes are wide open and he looks around. He's wild-eyed as if something is consuming him from within and he's unable to escape or even move.
MILLER
Aaarrrgggghhhhh!!!
Miller's face stops mid-scream and looks in a different direction. He begins to speak mimicking Jimmy Stewart.
MILLER
(JIMMY STEWART'S VOICE)
Intelligence. Nothing has caused the human race so much trouble as intelligence.
INT. DORTECH SECTION 2 HALLWAY - CONTINUOUS
A double door swings open as Major Hector Ramirez enters Section 2 with two guards and Bradley on his side. One guard is holding a mirror for him as he checks his teeth without slowing his gait. The second guard is behind Bradley almost herding the intimidated science officer.
HECTOR
It's 2AM. This better be good Bradley.
BRADLEY
Yes, Major...
(corrects himself)
Yes, Commander. Sloane has been here all night watching the last specimen with the research team. It's... different. You need to see it.
Hector stops and looks at Bradley, swatting the mirror out of his face.
HECTOR
Wake me up at 2AM different?
BRADLEY
I think you should see this so you understand.
INT. DORTECH SECTION 2 ROOM - CONTINUOUS
In one of the glass-enclosed, glossy black testing rooms, Ms. Sloane is with two researchers in white coats looking at a bank of polished white monitors. All three are wearing headphones tethered to the large panel. Various instruments are measuring different attributes alongside each monitor on pulsing green readouts. Above the monitors and protruding from the ceiling are six very large cylindrical glass tubes. Within them are various humanoid shapes, in varying states of deconstruction and all completely consumed by fungal growth.
Ms. Sloane and the researchers are transfixed by three of the monitors focused on multiple angles of Miller's fungus enveloped body in Section Zero. A crew in hazmat suits is setting up a claw-like digger above, presumably to capture this new sample. Miller's face continues speaking.
MILLER (JIMMY STEWART'S VOICE)
...in this world, Elwood, you must be oh so smart, or oh so pleasant.
INT. DORTECH SECTION 2 HALLWAY - CONTINUOUS
Composing himself for an impression of strength, Major Hector Ramirez checks himself again in the guard's mirror.
HECTOR
How do I look?
(to himself)
Good.
Hector again swats the mirror out of his way as he pushes into the testing room, guards and Bradley following closely behind him.
INT. DORTECH SECTION 2 ROOM - CONTINUOUS
Ms. Sloane and the two researchers are unaware of Ramirez and entourage having just entered behind them. Hovering directly behind them Ramirez's reflection is reflected in the monitors. Startled, the taller Ms. Sloane turns around and catches her balance having to look down at this somewhat diminutive dictator.
MS. SLOANE
Hi. Hello. Hello, Commander.
Hector looks at her briefly and pushes through to look at the monitor.
HECTOR
Ok whatever Sloane. Why am I not sleeping right now?
He looks at her intently then up and down and back to the monitors.
HECTOR
(annoyed)
How tall are you?
MS. SLOANE
I, um. It's a bit hard to explain Commander.
HECTOR
Spit it out.
Bradley is talking to one of the guards and then steps forward.
BRADLEY
5 foot, 10 inches, Major.
HECTOR
What? It's Commander.
BRADLEY
Ohh, right. 5 foot, 10 inches, Commander.
HECTOR
What are you talking about?
BRADLEY
Her height, sir.
(stammering)
Commander.
HECTOR
Thanks.
MS. SLOANE
Commander. It's Miller. I, or we, believe he's communicating, or the organism is communicating through him. It's using him or his body to speak.
HECTOR
Excuse me? So why was that so difficult? Who is Miller?
MS. SLOANE
Miller is the MIT researcher who...
HECTOR
Oh, got it. So why is this difficult?
MS. SLOANE
It's not that it's difficult more that it's hard to explain. It seems to be taking on personalities from early 1900s... when we started broadcasting to the stars. It's focused on a specific era but we have no rational reason for why or how it would have exposure to this.
HECTOR
It's a mushroom, not a sentient lifeform. Have you identified the isotope? I don't see why I'm here right now.
MS. SLOANE
Listen.
Ms. Sloane leans forward and flips a switch and turns a dial to increase the volume. The monitors all switch to the face of Miller within the fungus. Over the speakers we hear the voice of Jimmy Stewart. On the monitor Miller's eyes move from right to left following some invisible figure.
MILLER
(conversationally)
Why thank you Harvey, I prefer you too.
Visibly annoyed, Hector interrupts.
HECTOR
Who? is Harvey?
BRADLEY
He's a pooka, Commander.
HECTOR
A what?
BRADLEY
A pooka. A giant rabbit, well 6 foot, 3½ inches to be exact. Commander, Harvey is a movie. Do you remember Mars when...
HECTOR
(angry)
Me Cago en la Leche! ...always Marshall. She was obsessed with that boring old shit. I remember Mars. It wasn't enough we had to listen to that dried up prune for 3 months, now this pendejo is spitting out her annoying mondongo. Cagaste y Saltaste en la Caca.
Everyone in the room is taken aback as Hector wipes everything off the tabletop and tries to throw the chairs at the reinforced glass in a failed tantrum.
SLOANE
Who is Marshall?
BRADLEY
Commander Sue Marshall. She led our mission to Mars and discovered the original spores.
HECTOR
She never earned that badge and I discovered the things Bradley. I did that. Sue Marshall is dead down there and I was the one who found them. Enough. Break off the sample. Now. Cut it down.
SLOANE
But sir..
Hector motions to the guards who quickly grab her by the arms.
HECTOR
Excuse me? Did you say "but"? You seemed smart.
(to guards)
Get her out of here. I alone am saving our planet from this. No buts.
Bradley taps the researchers gesturing there's nothing to see here and they should get back to work. Researcher #1 speaks to the men in Section 0 over the microphone on the panel.
RESEARCHER #1
Break it down.
On the screens the claw device grabs the immobilized Miller and breaks him off mid-thigh. His flesh breaks off in fibrous threads more like a dried and rotting wood log than any flesh. On screen it's clear he's continuing to talk as the digger hoists him into the air.
HECTOR
If I hear anyone talk about this you'll all be in the tube with Miller.
BRADLEY & RESEARCHERS
(in unison)
Yes, Commander.
Through the glass wall Ms. Sloane is being escorted away by the two guards.
HECTOR
(whispers to Bradley)
Put her in the tube next.
CUT TO:
EXT. SHERRY'S PLACE - MORNING
The yard is teeming with life in the soupy humidity of the morning sun. A fly buzzes around to discover Vince and Diego fast asleep in the stacked hammocks amongst the greenery. Diego brushes away the fly in his sleep and it flies to the rollup door, landing on the window.
INT. SHERRY'S PLACE - CONTINUOUS
Inside, past the fly on the window, classic Bebop plays on a scratchy turntable and a coffee grinder stirs James asleep on a mustard yellow couch.
He blinks and wakes slowly, sitting up pensively to take in the space. Sun leaking through flaking paint covered shop windows reveals Sherry's place is a warm and eclectic mid-1900s refurbishment of a once industrial space. The decor is a tasteful mix of old and new that is inviting and sincere. Spiritual reminders dot the walls... "Good Vibes Only", "Trust the Universe", "What is my task for today?" and various self-help books and notes point to someone focused on their inner growth and an earnest kindness. Like the lush yard visible through the rollup doors, the space is filled with plants amidst remnants of whatever metalshop was here.
Sherry walks over from the kitchen area with a large mug of coffee and plate of toast. James is mostly unaware as he takes in the unfamiliar space and looks down at an unfamiliar t-shirt and pants. Sherry sees his confusion and tries to clear things up for him...
SHERRY
Oh. Yeah. That's all my dad's stuff. This was his place. Your "HOT GRAMMA" shirt went in the trash...
(pauses)
outside.
On the table in front of James, she places a plate of thick homemade pumpernickel toast with a pad of melting butter. She hands the mug of coffee to him.
JAMES
(humble)
Thank you.
SHERRY sits with her own mug in a worn and comfortable looking chair placing her mug just so on a side table before adjusting it again.
SHERRY
I don't know how you take your coffee but this is how we take it here.
James takes a sip of coffee and closes his eyes. He puts
his mug down on a side table and turns to Sherry, a faint smile on his face.
JAMES
Thanks. This is... wonderful. Did you make this bread?
SHERRY
Yeah! I made it this morning.
JAMES
What time is it?
Sherry looks at a clock on the wall.
SHERRY
Seven o'clock.
James blinks long and takes a deep breath.
JAMES
(slowly)
I don't even know what you just said to me.
SHERRY
(laughing)
Good Morning, James.
JAMES
So, where are...
SHERRY
Tweedle dee and tweedle dum? They're outside in the hammocks. They actually helped you alot last night. For two very self-absorbed manboys, I was surprised. They care about you, even Vince. I was not going to let you sleep in here covered in blood and they cleaned you up.
JAMES
Thank you.
SHERRY
You're welcome.
EXT. SHERRY'S PLACE - CONTINUOUS
On the adjacent rooftop overlooking the yard from above, a giant pigeon lands, cocking it's head to one side to watch the yard and listen. Below Diego is being pestered by a fly and eyes closed is swatting the air. The hammock is swinging side to side and he gives up with trying to sleep, stretching and awkwardly getting out of the hammock. Vince is fast asleep in the hammock opposite, serene and almost glowing in a nothing sticks to me I'm Jesus kind of way. Diego looks around inspecting some of the plants and takes a deep morning breath. He scratches, stretches and yawns.
From above he hears COOING and looks up quickly to see the giant pigeon watching.
DIEGO
What the...
Another lands beside the first and also watches. Diego furls his brow in nervous surprise and slowly walks inside, watching the pair as he does.
INT. SHERRY'S PLACE - CONTINUOUS
SHERRY
So do you remember anything from last night?
JAMES
Not really. I remember being at that meeting with you and then I remember... Diego. That little shit.
SHERRY
Easy tiger. He came clean and was trying to help you in his own way.
JAMES
He was drugging me.
JAMES
Oh shit. I killed those things. I mean I really destroyed them.
SHERRY
Yeah, you did. It wasn't pretty.
JAMES
I, uhh... I got bigger?
SHERRY
You looked like a mutant wrestler from the 1980s.
SHERRY
So... do you know how it happens?
JAMES
I don't know exactly but I think, it's my name.. or..
Diego walks in, ungracious and self-absorbed as he takes in the place. He sits down abruptly beside James and starts to eat the toast without acknowledging Sherry or James.
SHERRY
Good, Morning?
DIEGO
(eating)
Yeah! Good Morning! So always with the penguins errr... pigeons outside? Man this toast is good. Is there any more coffee?
Sherry sighs. James notices her frustration.
JAMES
Diego, we, are actually, guests right now. Can you maybe stop eating my toast and show some respect?
Diego almost spits his coffee out.
DIEGO
Wow bro. What happened to you?
Diego looks up and notices Sherry glaring.
DIEGO
Oh damn. Forgive me. Shit, I'm so used to it being Cynthia or Boy or some other... Vince is... Never mind... ...I'm sorry Sherry. I'm sorry.
SHERRY
(pauses then sincerely)
Ok. I can appreciate that and I'll think about it. You at least took your shoes off. Yes, the pigeons are there more and more the past few weeks. Although... that is strange...
Sherry looks outside where another pigeon has landed. She shakes it off and continues.
SHERRY
I think they pick up on the microwave connection but they normally just lurk around with all the sage outside.
Diego has stopped listening and takes a bite of toast.
DIEGO
Werd.
James is unaware of this conversation and deep in contemplation. He sits up straight and both Sherry and Diego are surprised looking at him.
JAMES
I think it's JIM. I think it's my name.
DIEGO
What do you mean it's your name, bro?
JAMES
Please don't call me bro. I think it's my name but, not my name. The sound of my name or, the sound of the word JIM.
James winces and cocks his neck as if tinnitus were within the word itself.
JAMES
I heard it at the church... I heard it when were in the park and I heard at the clinic last night. I hear it and then everything goes dark.
SHERRY
Why were you at the church?
JAMES
I was...
DIEGO
(sings)
JJJIIIIMMMM...
James winces and arches falling back on the couch. His arms and chest bulge. Diego and Sherry's eyes widen. He's becoming JIM before their eyes. Jim sits up disoriented and tries to catch his bearings.
From Jim's perspective the room is reverberating with chromatic ripples in space in synch with the echoes of JIM, a high pitched whine and low vibrating hum.
SHERRY
What the hell Diego!?
DIEGO
I heard it at the park too! I was.. Just before I heard the humpers... and then... they were all dead! They were all dead. There was so much blood.
JIM
Stop. Give me a minute.
Jim is visibly struggling to see, to hear, to acclimatize.
SHERRY
Stop. He's not OK Diego.
Jim is seeing double vision as the world vibrates and begins to align.
SIR DAVID ATTENBOROUGH (V.O.)
Remember ------,---.
JIM
Oh my God what? What did you just say?
DIEGO
We didn't say anything JIM.
SHERRY
Stop saying JIM.
JEFF LEBOWSKI (V.O.)
No man. You got this. We're gonna help you man. This is you man remember you're gonna fix things.
A rush of voices and visual sensation floods Jim's perspective as the world around him comes flooding in to fill a point of light the size of a grain of sand. In the peripheral vacuum around his perspective is the depth of intergalactic space for an instant of an instant before it all crashes in towards him just as quickly as it receded.
Jim snaps to attention rising to his feet and ripping off his shirt with both hands revealing an unnaturally hardened, Olympian physique.
DIEGO & SHERRY
(together)
Whoa...
JIM
Hi.
Jim just stands there stoically.
SHERRY
(mouthing the words)
What, the, fuh?
Diego shrugs and grimaces to Sherry as they both watch Jim breathe in and close his eyes. In the background Vince walks in unaware. He sees Jim and stops.
VINCE
Oh my! Well what did I miss here Diego? And what time is it? Seems awfully early to be getting started without me.
JIM
Funny Vince. It's me. We gotta go.
Diego and Sherry look at each other, confused.
DIEGO
You're gonna need a shirt Jim.
Sherry bites her lip.
DIEGO
Sherry?
SHERRY
Oh, right. Sorry. Shirt.
Sherry gets up and leaves the room. Vince sits down and starts to drink Jim's coffee.
VINCE
So while this little bohemian oasis of sobriety and caffeine is charming, are we avoiding something? What is it precisely we're doing?
DIEGO
Yeah, right, right, right!
(to Jim)
Before you blacked out you said they were building something at the lab?
JIM
I don't know exactly... it's more of a feeling of pain and anger. It's creating pain and I have to stop it. It's behind my temples and further back, higher. I can't make it out but this voice comes and goes.
VINCE
So a feeling then. A voice.
Jim nods thinking his friend is understanding him and Diego leans in as well.
VINCE
(exasperated )
I've heard enough. I've had enough plans interrupted by... this growth exercise.
(motions to the room)
How you were borne in hand, how crossed... This absurdity has run it's course. I am done and you're on your own.
Vince gets up and storms out.
DIEGO
Typical bro. Let's all follow Vince and the eternal party. No consequences right?
JIM
Let him go.
The light in the room starts flashing on and off. A computer somewhere is beeping loudly. Sherry returns and throws a shirt at Jim. She's visible flustered and in a rush.
SHERRY
We have to go. We have, to go.
(to Vince leaving)
Where is he...?
DIEGO
He, uh...
SHERRY
(brushes it off)
Never mind.
(focused)
I'm not allowing that ego to slow me down. They're coming now, coming here, to my sanctuary.
Sherry rushes to pack and hide equipment and lower security shutters. She moving quickly while Diego and Jim are bewildered. She passes them things and then takes them away before they can help.
SHERRY
They must've traced my connection last night. Damn. Why did I agree to this?!
Diego is following her around trying to lend a hand. It's clear she's got this covered. She throws him a hoodie, Jim a hat, and pushes them towards the door.
DIEGO
What do you...
SHERRY
(yells)
We have to go! NOW!
CUT TO:
EXT. SHERRY'S COMPOUND - DAY
Just outside the gate, Sherry is pushing Jim and Diego out, and locking up the compound. Jim is unflappably standing by, almost in a meditative state, looking fixedly at the horizon. Across the street it's clear what he's looking at; on a large, rusting, elevated steel billboard sit two giant pigeons. Diego is trying to follow her cues but fumbling and slow while also keeping one eye on the birds. He looks down the street and sees Vince walking away.
DIEGO
Vince! Bro! We gotta get outta here.
Vince raises on middle finger without turning. A bus approaches in the distance.
VINCE
(yells theatrically)
No more by thee my steps shall be, For ever and for ever.
SHERRY
Leave him. We have to be on that bus before they get here.
In the distance sirens can be heard. The bus is approaching.
SHERRY
Hurry. We gotta catch this bus. They're gonna surround this place.
The three run to catch the bus. Jim catches Diego as he trips and stumbles into a steel barrel then kicks it out of their way. Surprised by his friend's strength Diego pauses for a moment, but the bus is more urgent. The arriving bus is an armoured juggernaut with reinforced steel plates and bars on all the windows. Despite this it's still plastered with advertisements, most touting the success of DORTech. Sherry waves it down and they all board.
INT. CITY BUS - CONTINUOUS
The interior of the bus is no different than it's exterior. It's reminiscent of more normal times with reinforced armor and more reminders of DORTech's prevalence. PETE, 40, the bus driver is a large, unkempt man/mess who spends more time in this seat than anywhere else and smells of old meatloaf. He's eating from a bag of orange puffs and his fingers and face are covered in the stuff.
Sherry stuffs some bills and change into the farebox and waits for Diego and Jim.
PETE
Fourteen seventy-five.
DIEGO
For both of us?
PETE
Each. Fourteen seventy-five, each.
Diego pulls a five out of his pocket while Jim pulls nothing. Diego looks at Sherry and at the driver.
DIEGO
Damn. We have to get downtown man. Can you cut us a break?
PETE
Sure. Get off the bus and I won't call the cops.
JIM
We're going downtown on this bus.
Pete looks at Jim and stuffs his face with a handful of orange. A giant pigeon lands in front of the bus and cocks his head down, close to the windshield, to look directly at Pete, who chokes on a cheese puff. Jim motions to the pigeon and it takes off. A SCREECH is heard on the roof as it lands above them.
PETE
(panicked)
What's going on man?! I just collect the fares and drive this bus. If you don't pay I call the cops. It's what I have to...
CHARLES (O.S.)
Easy Pete.
Charles, sitting further back, stands up and approaches the front. Sherry's face lights up. He takes out some cash to pay the fare.
CHARLES
Hello Sherry! I got this Pete. You take it easy now. These are friends of mine. Oh and take these for the ride.
Charles hands Pete a pack of cheese puffs and he's immediately appeased.
PETE
(contented)
Oh! Right. Why didn't you say so Charles? Get yourselves on the bus now. We got to go. There's a schedule and I'm never late.
The bus driver closes the door and pulls out quickly. SCREECH as the pigeon above takes off. Ahead three black armored vehicles with sirens round a corner. Two pass the bus and one stops to begin blocking the upcoming intersection.
PETE
Looks like we've got some action around here.
A militia steps out leisurely assuming the bus will stop and almost gets run over as Pete accelerates. He wags his finger at the officer and points at his watch.
PETE
I ain't got time for this. Get out the way fool.
Diego and James lose their balance and fall into seats as the bus swerves and Sherry holds tight to the hand rail above. Behind the bus the armored vehicles are stopped at Sherry's compound and men have leaped into action to surround the place. Sherry is standing beside a seated Charles, looking out the back window mouth wide.
EXT. SHERRY'S PLACE - CONTINUOUS
Multiple armored vehicles have converged on the street. Armed officers in tactical gear are planning an armed assault on the compound. Bradley steps out of one of the armored vehicles looking at a tablet, then looking at the address. He walks past the more serious group towards to gate.
BRADLEY
Take it easy. They're a bunch of club kids. Maybe ring the doorbell first?
MILITIA #1
We have our orders to proceed with force.
Bradley rings the buzzer. He sees a milk crate and grabs it to look over the gate. The compound is quiet, lights are out, no one's home.
BRADLEY
Maybe just look around first, right? There's nobody here. But...
Down the street, Vince has just looked back and then quickly turned to try to walk nonchalantly away.
BRADLEY
Can someone please grab whoever that is?
He looks at his tablet.
BRADLEY
Yeah. I think that's...
They stop for him to continue.
BRADLEY
No don't stop. Just grab him.
Vince realizes and starts to run. He makes it about 20 steps and has to stop to catch his breath. He turns around as three of men catch up and he's quick to lift his hands.
VINCE
N,N,N,N,No. It's ok boys.
He's backing up as the three he can see close in.
VINCE
Honestly. I really preferred the blue. The whole black vests macho business is just so... (MRPHHHUL)
Another officer has put his bag over Vince's head and grabs his arms to restrain him. He struggles and manages to get the bag partially off.
VINCE
I demand... I, I know people!
He stops struggling as the bag is pulled down over his face and the other officers grab his arms to restrain him.
CUT TO:
INT. CITY BUS - AFTERNOON
Shortly later the bus is on it's normal route towards the city. The driver Pete is singing along to some music playing too loudly on his headphones. James is stone-faced watching the city go by, while Diego pleads with his friend, keeping his distance one row back.
DIEGO
Hey. Are you going to talk to me? I did you a favor bro. Look at you. You're like a super-james now too.
James is unresponsive. Diego indignantly dismisses the lack of engagement.
DIEGO
Fine. I was fixing this for you. I'm not a bad guy bro.
Diego crosses his arms and stares out the opposite window. Charles is looking at the trio with concern, shaking his head. Sherry is standing on her holding a support and notices him watching.
CHARLES
(concerned)
Sherry, what have you gotten yourself into with these fools?
Diego sits up and turns towards Charles.
DIEGO
(defensive)
Hold on. We...
But Sherry stops him cold with a gesture .
SHERRY
(to Diego)
No.
SHERRY
(to Charles)
It's bad Charles. Everything that's been happening is going to get worse. DORTech engineered this.
The bus is in a busier part of the city. Billboards and posters on boarded up storefronts display the DORTech propaganda. Sherry points to a sign that prominently displays the "humper" threat.
SHERRY
The only natural disaster is those things they've created.
Diego can't sit still and has to speak his mind.
DIEGO
No. They're fixing this for all of us. Ramirez will fix it.
SHERRY
Wow. Seriously? You must see he created all of this to sell more tinfoil. Giant rats, housepets, curfews, all these militia? This is fixing it? It doesn't make sense Diego.
Outside a militia has a side street blocked off and the smoldering remnants of an attack are being loaded into an armored carrier.
SHERRY
They always conveniently show up to save the day and burn up innocent creatures, while the humpers are always just out of reach.
Diego is flustered and stammering, arms crossed and defiant. He's facing forward defiantly spouting off raising one hand to stop the "misinformation".
DIEGO
(exasperated)
There's no conspiracy. They're good people. It's not. It's not easy.
Sherry sits behind Diego and talking down to the back of his head.
SHERRY
Have you seen James? Yesterday he looked like a burnt out junkie and today he's some kind of vigilante wrestler from the 80s?! He's talking to giant pigeons Diego. That animal last night was scared and didn't want to fight.
The bus is passing the park, now majestic and picturesque in it's overgrown beauty.
SHERRY
Look at the park... it's an overgrown, natural paradise while we're all living behind bars in this warzone! Nature versus nurture ... those rats were created. End of story. There's something bigger here that's out of our control. Open your eyes!
Sherry is out of breath. The bus is slowing down. Charles pushes the signal to stop and begins to stand holding his box and a few bags.
CHARLES
(sighs)
This is my stop.
Carrying more than most should, but without any effort, for his stature, Charles speaks. Diego and Sherry both turn to listen.
CHARLES
You both have got a fire that needs to step back. We can't control nature and we certainly can't presume to assume that we know the truth. What I can see is the same thing we always fail to see. Nature has a plan and it's never what we expect and always what we need.
As he walks to the front of the bus he stops by James who's thousand yard stare speaks to a busy mind.
CHARLES
I think this man here might know more than everyone out there. Listen to your friend.
Charles turns to the front of the bus and talks to Pete.
CHARLES
Take care Pete. These are good kids. You make sure they get to where they need to go.
Pete opens the door.
PETE
Will do. So long Charles! Thanks for the cheese-its.
He looks in the rear view mirror at the trio.
PETE
Hey the man was speaking to you. What do you all need? Hello?
Pete starts to close the door and stirred by some realization, James stands up.
JAMES
We have to get off. We have to get off here. I have to. We have to get in there.
Diego and Sherry scramble hit the buzzer and Pete looks at his watch before opening the door. The three disembark.
James is five steps ahead. Sherry looks back at a disorganized Diego and steps off.
SHERRY
(apologetic)
Thanks.
DIEGO
(confused)
Yeah thanks. Where are we going?
INT. DORTECH HOLDING CELL - AFTERNOON
Vince is in a featureless room addressing a camera and 2- way mirror.
VINCE
Oh. These lights! Does anyone not care what this does to your skin? Hello!? I've been in here now for how long. I'm not sitting on this ground. I demand a chair.
(to the mirror)
This wall. This wall. Are you there watching me? This side? Or this side?
INT. DORTECH OBSERVATION ROOM - CONTINUOUS
BRADLEY
He won't shut up?
VINCE
I wasted time, and now doth time waste me; For now hath time made me his numbering clock... Sighs and tears and groans. Minutes, times, and hours.
GUARD
Two hours straight.
BRADLEY
Get him ready. Ramirez wants him in Section 2.
Bradley watches as the guard enters the room to restrain Vince and take him away. He's rough and Vince resists.
VINCE
Oh my. Now that's how you treat a man. Where are we going?
The guard ignores Vince who eventually submits.
CUT TO:
INT. DORTECH SECTION 2 - CONTINUOUS
Hector is seated impatiently. A lab technician nervously looks at monitor. Bradley enters. He looks at one of three glass tubes containing a fungus covered shape.
HECTOR
(tapping)
This is a waste of time. He has nothing. Where is my nephew?
Bradley acknowledges the impatience and steps back.
VINCE (O.C.)
Ow! Treat me like this, I'm definitely going to need some flowers in the morning.
The door opens as the guard pushes Vince's head against the door to open it. Hector stands.
HECTOR
No! No! No! Vincent is a guest. We don't treat our guests like this.
Vince naievely takes the opportunity to control the room. (Side-glances from everyone else.)
VINCE
(entitled)
Oh right. Well, Thank you Sir. Finally. I'll take this chair.
HECTOR
(indulgently)
Of course. Now Vincent. I want to ask you a few simple questions and we'll get you on your way.
Hector starts to walk and talk. His employees are cautious. His back to Hector, Vince is rolling around on the chair inspecting equipment and monitors.
HECTOR
I believe you know my nephew.
VINCE
No.
HECTOR
Yes, you do. Diego. Anyways. You also have another roommate and I need to speak to him.
Vince is half-listening and turns with a smirk on his face.
VINCE
(fecisciously)
Diego is your nephew? Oh. That's how he got a job. He's very proud of his station here.
Hector isn't unaware of who his nephew is and contains his annoyance.
HECTOR
Yes. Diego. His mother asked me to fix things for him and that's what we do here. We fix things. Now this other man, this roommate.
VINCE
James? Really? They are all done for me. Idealist bullshit claiming we'll grow together. Keep coming back she? What does that even mean? I'm done with them.
Vince has rolled over to the large tubes and taps the glass with his fake nails. The fungus inside undulates.
HECTOR
Do you recognize him?
Not understanding, Vince turns around as Hector signals to rotate the tube that starts to move. It's opposite side starts to reveal a humanoid shape.
HECTOR
Take another look.
Vince turns around and stands up quickly, stepping back, suddenly exposed. The guard slowly steps forward as Vince looks closer. The second tube is rotating to open.
VINCE
Oh my god. Boy. What did you. What the. Oh god.
The guard grabs him and pushes him into the second tube. Hector smiles with a shrug.
HECTOR
Forgive me Vincent. I really should have explained all of this but we just don't have time..
Hector leaves with Bradley and the guard as Vince, silenced behind the thick glass bangs desperately.
EXT. SECTION 2 HALLWAY - CONTINUOUS
Hector and company leave, walking down the hallway with intent as the door closes silencing the banging glass.
HECTOR
Find my nephew. Keep your distance but make sure he's getting it done.
CUT TO:
EXT. WAREHOUSE DISTRICT - LATE AFTERNOON
James, Diego and Sherry are walking, approaching a corner. Diego and Sherry continue their debate. James is ahead.
DIEGO
(resolute)
It's not always perfect. Like James and those rats. Was there a better way than to cover us all with blood ? We're still here. SO?
SHERRY
(dismissive)
I can't. I can't even.
An armored car passes the intersection ahead. James is looking around the corner. The road is blocked and the militia are everywhere.
JAMES
Stop. Wait. We can't. It's crawling with them. They're looking for us.
SHERRY
You see?
JAMES
I don't like the feeling of this. There's too many of them.
DIEGO
They're trying to help.
Sherry and Diego's arms are grabbed unsuspectingly as he tries to round the corner.
FATHER TONY
NO. We're not safe here.
CUT TO:
INT. CHURCH CHAPEL - DUSK
Tony ushers them into the church and locks the door. He's in a rush and ushers them to the rear. Diego and Sherry turn to look at the opened floor as they walk.
FATHER TONY
They've been up and down the neighborhood all day looking for you. Anyone who knows you are being taken in those black trucks.
DIEGO
We should've stayed. I work there. We can just go now and clear it up.
SHERRY
Um No. We have to get in there but not through the front door. What happened in here?
JAMES
The park? It's beside DORTech That whole block. The rats. There must be a way in.
DIEGO
This is crazy. You can go wherever you like but I'm telling you we'll be fine. There is no "conspiracy".
FATHER TONY
What about The Three Pins across the street?
JAMES
Yeah that old place.
FATHER TONY
I remember they tried to buy that place when they built on top of the astronaut house but the community wouldn't let it happen. The basement was a maze of all the old city and the first rat tunnels showed up there.
DIEGO
Ok. I'll take my chances with the people trying to fix this instead of the humpers under an old building. I'll go in the front door and you can go bowling. You'll see.
JAMES
Diego!
SHERRY
No. It's ok. It might be better to go our separate ways and at least try to get some more info.
DIEGO
Ok I'm going. It's almost curfew and I'm not walking around there at night.
JAMES
Just. Wait.
FATHER TONY
No, No. Let him go. Let him go. I was watching Diego the past few months and while I know he's a good boy, his mother Jim. Her accident has damaged him. He's not present and not... I need to give you something.
FATHER TONY
After your accident here I gathered some of these growing in the catacombs beneath the church. Ccx
JIM
That music.
FATHER TONY (CONT'D)
Watch.
FATHER TONY
Right?
FATHER TONY (CONT'D)
This was your father's Jim. Until you find yourself, this will help you on your way.
JAMES
What is it?
SHERRY
Here. See.
JAMES
Oh Wow. Can I take this?
Sherry and James enter through the bowling alley. It's adjacent to the corp and has a basement.
Diego goes to the office. It's a trap.
Hector is shown the video and must contain and control the situation.
Diego uncovers what is happening and sees Vince and Boy.
Diego is revealed as hidden anti-hero traitor.
Diego has to redeem himself.
Vince is restored.
Sherry
So where's it coming from?
Diego decides to find out more
What are they building in there?
But now it's not the barbarian oaf
It's dangerous
It's ok I can talk to them
Hold on what?
Good Morning to you too
I was thinking I have to find out what's going on in there
If
JEROM
Diego goes to work
He's there to find out more
Discovers underground experiments
Enters the lab
Giant animals
Hi Diego. You're not where you're supposed to be are.
Where's your friend Diego?
Does he know what you've done for him?
Short circuited by drug intake
Pigeons

INT. WHITE BOBA TEA JELLY - DAY
SETH ROGEN
I don't know what we're watching here, man. You did this? JIM? Isn't that your dog's name?
JEFF BRIDGES
It is. Jim is everything, man.
SETH ROGEN
So you made this movie, put this whole thing together just because it's fun to make movies?